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SCHOOL SEWIN

— • BASED ON

HOME
PROBLEMS

BURTON

Class T In lO

Book..

Gopyriglit]^^-

CQKRIGHT DEPOSm

SCHOOL SEWING

BASED ON

HOME
PROBLEMS

IDA ROBINSON BURTON, B. S.

Former Director Home Economics
Muncie Normal Institute

AND

MYRON G. BURTON, A. B.

Director Home-Study Service
Kansas State Agricultural College

Author cf
"Shop Projects Based on Community Problems"

PUBLISHED BY

VOCATIONAL SUPPLY COMPANY

MUNCIE, INDIANA

TTjio
• IS?

COPYRIGHTED, 1916

VOCATIONAL SUPPLY CO.

AUG 23 i9l6

(g)CU437597

r TABLE OF CONTENTS

PAGE

^Title Page 1

Table of Contents 3, 4, 5, (>

" Preface 7, 8, 9, la

Home Problems 11, 12, 13

Suggestions to Teachers 14, 15, 16, 17, IH

Instructions to Students 19, 20, 21, 22, 23

Introduction to Section 1 24

Needle Book 25, 26, 27, 28

Wash Cloth : 29, 30, 31, 32

Hand Towels 33, 34, 35, 36

Handkerchief Case 37, 38, 39, 40

Sewing Apron 41, 42, 43, 44

Book Cover 45,46,47,48

Button Bag 49, 50, 51, 52

Hair Receiver 53, 54, 55, 56

Holder 57, 58, 59, 60

Child's Bib 61, 62, 63, 64

Review Questions and Problems 65

Suggestions for Home Application 66, 67

Introduction to Section II 68

Filing Pocket 69, 70, 71, 72

Sleevelets 73, 74, 75, 76;

Cap 77, 78, 79, 80

Silver Case 81, 82, 83, 84

School Bag 85, 86, 87, 88

Broom Cover 89, 90, 91, 92

Crocheted Turban 93, 94, 95, 96

Darned Towel 97, 98, 99, 100

Dresser Scarf 101, 102, 103, 104

Kitchen Apron 105, 106, 107, 108

Review Questions and Problems. 109

Suggestions for Home Application 110, 111

PAGE

Introduction to Section III , 112

Traveling Case 113, 114, 115, 11(5

Embroidered Napkin 117, 118, 119, 120

Shop Apron 121, 122, 123, 124

Ironing Board Cover 125, 126, 127, 128

Clothes Pin Apron 129, 130, 131, 132

Scalloped Towel 133, 134, 135, 135

Fancy Apron 137, 138, 139, 140

Bedroom Slippers 141, 142, 143, 144

Handmade Handkerchief 145, 146, 147, 148

Embroidery Corset Cover 149, 150. 151, 152

Review Questions and Problems 153

Suggestions for Home Application 154,155

Introduction to Section IV 156

Sash Curtains 157, 158, 159, 160

Laundry Bag 161, 162, 163, 164

Pillow Case 165, 166, 167, 168

Sofa Pillow Cover 169, 170, 171, 172

Table Cover 173, 174, 175, 176

Guest Towel 177, 178, 179, 180

Bungalow Apron 181, 182, 183, 184

Cooking Apron 185, 186, 187, 188

Baseball Suit 189, 190, 191, 192

Plain Petticoat 193,194,195,196

Review Questions and Problems 197

Suggestions for Home Application 198, 199

Introduction to Section V 200

Combing Jacket 201, 202, 203, 204

Night Gown 205, 206, 207, 208

Kimono 209, 210, 211, 212

Princess Slip 213, 214, 215, 216

Ruffled Petticoat 217, 218, 219, 220

Cambric Corset Cover 221, 222, 223, 224

Drawers 225, 226, 227, 228

Pajamas 229, 230, 231, 232

Boy's Shirt 233, 234, 235, 236

Embroidered Luncheon Set 237, 238, 239, 240

Review Questions and Problems 241

Suggestions for Home Application 242,243

Introduction to Section VI

Middy Blouse 245, 246,

Tailored Waist 249, 250,

Tailored Skirt 253, 254,

House Dress 257, 258,

School Dress 261, 262,

Wool Dress 265, 266,

Silk Dress 269, 270,

Lingerie Dress 273, 274,

Gymnasium Suit 277, 278,

Coat 281,282,

Review Questions and Problems

Suggestions for Home Application 286,

Supplement

PAGE
244

247, 248
251, 252
255, 256
259, 260
263, 264
267, 268
271,272
275, 276
279, 280
283, 284

285
287, 288

289

Chapter I. Textiles —

General Discussion 290

Cotton and Cotton P^abrics 291, 298

Linen and Linen Fabrics 298, 300

Chapter II. Sewing Processes —

Introductory Suggestions 307

Straightening Cloth 308

Basting and Tacking. . . . 308, 309

Running Stitch 310

Backstitch 310

Combination Stitch 311

Overhanding 311,312

Overcasting 313

Hemming 313

Hemstitching 314, 315

Rolled Hem 316

French Hem 316

Catch Stitching 316, 317

Featherstitching 317, 319

Cross-stitch 319,320

Outline Etching Stitch.. 320,321

Chain Stitch 321

Seed Slilch 322

Blanket Stitch 322, 323

Couching 323,324

Wool and Woolen

Fabrics 301,304

Silk and Silk Fabrics. . .304, 306

French Knots

Satin Stitch

Lazy Daisy

Hooks and Eyes and

Snaps

Forming a Loop

Sewing on Buttons . . .

Buttonholes

French Seam

Felled Seam

Lapped Seam

Overcast Seam

Gathering

Cutting Bias Strips. . .
Squaring a Corner . . . .

Mitering a Corner

Patching and Darning.

Crochet Stitches

Plackets

Sewing Machine

324

325
325, 326

326, 328
328
329

330, 333

333, 334

334, 335
335, 336

336
336, 338

338, 339

339, 340

340, 342
342, 349
349, 352
352, 357
357, 358

PAGE

Chapter III. Care, Repairing, Cleaning and Pressing of Clothing-

Laundering 362, 363

Removing Spots and

Stains 363,367

Pressing 367, 373

Clothing and Personality 359

Economy in Dress 359, 360

Care of Clothing 360, 361

Altering Garments 361, 362

Dyeing and Cleaning. . . . 362

Chapter IV. Patterns and Pattern Drafting —

General Discussion 374, 376 Drafting Kimono

Drafting Foundation Waist 376, 385 Nightgown 390, 392

Drafting Foundation Skirt 385, 390 Drafting Drawers . . . 392, 393

INDEX OF PROJECTS.

Baseball Suit 189

Bedroom Slippers 141

Book Cover 45

Boy's Shirt 233

Broom Cover 89

Bungalow Apron 181

Button Bag 49

Cambric Corset Cover 221

Cap 77

Child's Bib 61

Clothes Pin Apron 129

Coat 281

Combing Jacket 201

Cooking Apron 185

Crocheted Turban 93

Darned Towel 97

Drawers 225

Dresser Scarf 101

Embroidered Corset Cover... 149
Embroidered Luncheon Set . . 237

Embroidered Napkin 117

Fancy Apron 137

Filing Pocket 09

Guest Towel 177

Gymnasium Suit 277

Hair Receiver 53

Handkerchief Case 37

Handmade Handkerchief. . . . 145

Hand Towel 33

Holder 57

House Dress 257

Ironing Board Cover 125

Kimono 209

Kitchen Apron 105

Laundry Bag 161

Lingerie Dress 273

Middy Blouse 245

Needle Book 25

Nightgown 205

Pajamas 229

Pillow Case 165

Plain Petticoat 193

Princess Slip 213

Ruffled Petticoat 217

Sash Curtains 157

Sewing Apron 41

Scalloped Towel 133

School Bag 85

School Dress 261

Shop Apron 121

Silk Dress 269

Silver Case 81

Sleevelets 73

Sofa Pillow Cover 189

Table Cover 173

Tailored Skirt 253

Tailored Waist 249

Traveling Case 113

Wash Cloth 29

Wool Dress 265

PREFACE

THE most striking feature of the modern educational system Is
the atmosphere of practical application which surrounds every
line of its endeavor. Educators have come to realize that the
surest approach to the child's mind is through the light of his ex-
perience. They are therefore striving to utilize the impressions
gathered outside the classroom in motivating some of the mental
gymnastics which, heretofore, have been sheerest abstractions. Not
only has the scope of the curriculum been extended in such a way as
to include the subjects founded upon home and community problems,
but the very manner of dealing with those subjects themselves has
undergone a change consistent with the general scheme of making the
child's experience the constant handmaid to his training.

Under the old school the plan of the textbook was to arrange
the subject-matter in a logical and scientifically sequential form,
giving but little thought to the manner of development in the child's
mind. In those days it was thought that a textbook should rep-
resent a storehouse of racial subject-matter arranged systematically
and according to the most logical method. But little attention was
given to the idea of making the textbook a bridge between the child's
experience and the subject into which the child should be led.

Modern thought along these lines has made evident the fact that
the child's mind unfolds naturally in response to his experience, that
the child is a learner outside the classroom, to and from school, and
at home. In fact, during all his waking hours, he is continually
absorbing from his environment. With this fact in mind, the so-
called "phychological" method of instructing has come into vogue.
That is, the immediate interest of the child is utilized in an
effort to lead him into the realms of the unknown. A consideration
of this conception easily leads one to believe that the method of pro-
cedure in teaching could not then be identical in any two children,
due to the fact that no two children are equally endowed mentally,
neither have their experiences been the same. Therefore the psycho-
logical plan of teaching in its strictest sense could be perfectly em-
ployed only in a class consisting of one student. If this psychological
plan were followed to the extreme there is great danger that it would
lead to random thought, encouraging a sort of mind wandering, due
to the fact that no definite goal existed.

Ironclad advocates of the old school of logical lliifiking appar-'
ently believed that the child existed for the sake of fittiftg himself
into the established methods of training, and that each child should
be slavishly led, or driven as the case might be, through this pre-
scribed course, regardless of his personal aptitudes or individual
inclinations; likes and dislikes were not in the consideration. It
was this school of pedagogy which believed that the sequential logic
of the subject should be the master in prescribing the order of pro-
cedure in all school texts. On the other hand, the swing of ihe pen-
dulum brought many so-called educators to the opposite extreme"
where they were ready to cast aside every form of prescribed methods
of procedure, and in every line of thought endeavor to cause the mind
to unfold "naturally" with but little foresight as to the ultimate goal.
This sort of procedure was sure to result in rambling which gave the"
student absolute command of nothing that would function in the
solution of future problems.

These two extremes lie open to anyone who attempts the prep-
aration of a textbook. While the logical arrangement has beerr
rigidly followed for many generations past in some of the old line
subjects, it has asserted itself only to a very limited degree in the
newer industrial lines. There have, however, been a few attempts
at industrial textbooks which were so inflexible in the work that
they set forth as to stint the development of the students, and give
them but little that has any connection with the great store of world
subject-matter. There can certainly be no greater pedagogical error
than to introduce a practical subject and then teach it in such a way
as to strip it of all of its practical applications.

By far the greatest error, however, has been at the other extreme
of the pendulum. Too much of the industrial work of our public
schools has been so afraid of falling into the conventional forms of
the older lines that it has been almost chaotic; on account of this lack
of method, it has brought results which were far from satisfactory.
The newness of industrial work as a public-school undertaking has
naturally been the cause of its failure to conform to established
methods of procedure. Superintendents have been impressed with
the beautiful theories often set forth by the expert industrial teacher
saying that the work should be made to conform absolutely with
the child's personal experiences, and that every problem should arise
out of the child's own conception and initiative. Such methods have
been tried and superintendents have been very much disappointed
to find that, when the classes were entrusted to less skillful teachers,
the educational results fell far short of the expectations which had

been set upon hearing this theory so beautifully expounded by the
expert.

If any line of handwork is to have its real educational value it
can not be at variance with the established rules of pedagogy. It is
absurd to think that a child undergoes any transformation, either
physically or mentally, because it happens to be in an industrial
laboratory, rather than in a classroom for the abstract subjects. In
the preparation of this text, which is based upon many years of
personal instruction and observation of all types of schools in several
states, the effort has been to find a sane medium between the rigid
logical method of arrangement and the almost chaotic result of the
unqualified psychological method.

Those who are familiar with the subject of sewing are well aware
that it does present many scientific phases, and that there are correct
and incorrect ways of doing things which belong to this important
art. These established principles are but the outgrowth and develop-
ment which the age now holds as its heritage from the careful and
thoughtful efforts of generations gone by. Surely each girl should
not be called upon to relive all these experiences in the sewing class,
and to develop herself from the crudest undertakings of sewing
through all of the primitive steps which have made possible our
modern needlework. Neither, on the other hand, should the child
be compelled to master in an absolute way a definite and prescribed
set of disassociated needlework principles. The experiences of the
child, her own environment, and outlook into her future occupation,
as well as her immediate needs should be studiously considered in
prescribing her work. The course should be sufficiently flexible to
adapt itself to these various needs without in any way disregarding
the established principles of the subject. The apperceptive powers
of the girl constitute her only means of interpreting her surroundings.
With this idea in mind, this text has been designed to deal with
logical principles in a psychological way. Paradoxical as this may
seem at first, an examination of the text reveals the fact that every
lesson presents ample opportunity for the student to acquaint herself
with different principles, and at the same time employ those principles
in the making of a project which will appeal to her native interest.
In order to provide for the development of initiative and to stimulate
the exercise of individual tastes, untold possibilities lie open in the
matter of original design, choice in decoration, and in the employ-
ment of the artistic touches which are in no way a violation of
principles.

In order to meet the widely difierent conditions of mind, which

must necessarily exist in the children who come from homes of vary-
ing conditions, a very extensive list of projects has been presented in
each section. Kindred ones have been suggested, thus making it
possible to claim the interest and attention of every normal girl,
allowing her to make articles which are of practical value in her
daily experience, and at the same time, enabling her to develop her
latent talent for artistic expression.

As this text is submitted to the opinion Of our fellow teachers it
is our most sincere hope that it will find some place in which to otter
its share of real practical assistance to every force which is endeavor-
ing to render practical service to our girls who desire to fit themselves
for lives of usefulness.

HOME PROBLEMS

THE most severe criticism which is being brought upon our
public schools today comes from professional men, great cap-
tains of industry, and those who have devoted their lives to the
practical problems of a busy world. It is not uncommon to hear it
stated that public schools fail to empower students with the kind of
information which they can employ after leaving the schoolroom.
The most ardent supporters of our educational schemes will not deny
that there is some justice in this accusation.

The schools which are becoming famous throughout the country,
for the excellent work which they are doing, are those which are
taking into vital consideration the needs of the community and the
home. We have come to understand that it is just as cultural and
just as intellectual for a child to engage her talents in the solution of
some practical home and community problems as it is to spend the
entire time and attention solving mathematical conundrums or
enigmas of languages which will probably never be employed in her
daily occupation.

As soon as a girl leaves school she will be called upon to solve
a great many problems in which an incorrect solution will not mean,
an unsatisfactory grade on her report card, the loss of a holiday or
the punishment of remaining in the same grade a second year; but
she will be confronted with a class of problems, the failure in whose
solution will mean the loss of social standing, impaired health, un-
happiness and misery to her family and possibly even death itself.

The problems of life demand a more careful solution than any
of the problems with which she has been dealing in school. Incorrect
solutions at school may be revised under the guidance of the teacher;
incorrect solution of a home problem can not always be revised, and
much less is there an opportunity to make a second attempt under
skillful guidance. But little argument is necessary in convincing
wide-awake, modern educators of the real value of the introduction
of home problems into school work.

The subject of sewing ofTers an opportunity for correlating the
activities of the home and the school in a way which is sure to
employ the natural interest of the student, and to use her inherent
disposition toward activities in working out a line of accomplishments
which will mean much to her when her school days are over. Surely

the consideration of such problems can not be lightly estimated even
from the standpoint of their cultural value.

Too many girls fail to comprehend what is meant by home prob-
lems. To them the v^^ork of the housewife is a mere matter of course,
with its drudgery and its never ending round of the same duties day
after day. If they could be brought to realize that the problems of
the home- are just as worthy the employment of their thought; and in
fact oftentimes fully as difficult of solution as the work of Geometry,
Chemistry or Physics, then more girls would respond with interest
lo this challenge of their ability. The interest in obedience to home
authorities and regulations may also be very much enhanced by a
proper understanding of home problems. The girl who realizes the
numerous problems which confront her mother, and fully under-
stands that the mother is constantly racking her brain to find a
correct solution of her problems, will have a broader sympathy for
her mother, and will be less likely to add annoyance by thoughtless-
ness occasioned through her lack of interest in those problems.

The matter of providing satisfactory clothing for the different
members of the family, keeping their clothing in the best possible
condition of cleanliness and appearance, is a problem of no little
concern. Particularly is this true in an age when tastes and designs
are continually changing, bringing about fashions some of which
are consistent with real needs while others are merely gaudy and
superficial. A girl should learn to discriminate between her wants
and her needs in matters of apparel. She should learn to comprehend
the economical problems of costs and values, training herself to dis-
tinguish between the two, fully understanding that cost and value do
not always go hand in hand.

The problems of mending are so homely as to be usually ignored.
There is certainly no sane reason why the matter of patching, darning
and other phases of mending should be any less dignified than trans-
lating a foreign language, solving mathematical problems, or doing
research work pertaining to the history of ancient nations.

The aim and hope of each lesson throughout the text is given
with this idea of enabling the student to comprehend the fact that
there are certain home problems for which the particular project in
the lesson offers a partial solution. It is not expected that the teacher
should go into detail sufficiently to require that each student should
thoroughly comprehend the home problems from which the project
is drawn, however, the more completely the problems are studied
the more likely is the student to pursue the project with interest. It
is no more reasonable to expect that every girl should become a

seamstress than to expect that every girl should become a clerk or
school teacher; but it is imperative that every girl should be deeply
concerned in the problems of home life, and it is but natural to sup-
pose that she will at some time be confronted with the problems,
whether in the management of her own home or in contributing to
the happiness and welfare of those among whom she makes her home.
Surely the training which gives a girl a self-reliance in being able to
make her own clothes is worth while. If she never cares to do her
ow^n work she should at least have training sufficient to enable her
to direct the work which will be done for her. The best way to instill
the proper respect and appreciation for home is to give a girl an
early understanding of the existence of home problems, and to equip
her with some means of approaching them.

SUGGESTIONS TO TEACHERS

THE following suggestions to teachers are intended to give a
broad conception of the underlying principles upon which this
text is founded and to offer means by which it can be made most
effective in the hands of the student. It is not the intention to curtail
the possibilities nor any of the originality or initiative of the teacher,
but rather to relieve her as much as possible of the drudgery and
minor details which fall to the lot of one who must constantly be a
source of information and advice to her classes. In practically all
other school subjects the teacher has the advantage of being able to
place in the hands of her students some sort of literature from which
they may gather the essential facts of the subject-matter. In proper
justice to the teacher of sewing, as well as to the student, these
classes should be provided with some means by which they may
gather pertinent information and direct their own activities by their
own powers of research. This will conserve the teacher's time and
energy, allowing it to be devoted to the more important functions of
studying the case of each individual student and then prescribing
work suitable to meet those needs.

This book is divided into six sections and each section presents
ten projects in detail, and offers suggestions for optional modifica-
tions which may be used in the construction of three or four times
as many additional projects. It is not the intention that any one
student should be required to make every project in each section,
but the aim has been rather to set forth an abundance of work from
which the teacher may direct the choice of each student, after con-
sidering carefully her individual tastes and needs. No attempt has
been made throughout the different sections to grade the projects and
present them in the exact order of the sequence of processes, but
rather to present a series of projects dealing with kindred principles,
thus offering an opportunity of appealing to the various tastes of the
students. It will be found, however, that the sections are somewhat
sequential from the standpoint of difficulty. It is therefore suggested,
that for the most part, the work should be taken up in the order
presented in the text.

When a student has completed one project, by a careful grading
of the finished product as well as by a thoughtful consideration of
the capability of the student, the teacher should advise her what
project she is to undertake next. In making these selections the

personal wishes of the student should be carefully considered, and
the selection should be made in such a way as to give each girl further
training on the particular processes which she did not do satisfac-
torily in her last project. In this way it will be possible for the
teacher to strengthen the weaker points of the student by review
without losing any of the interest which comes with undertaking a
new project. It will be observed that in each section there are offered
l^rojects of such a nature as to appeal to the interest of almost any girl.
The introduction to each section should be carefully perused by
the teacher in order that she may have a fairly clear idea of what
that section embodies. It would be well for the teacher to acquaint
herself with the processes set forth in each project before allowing
the girls to undertake any of them. The student who has not suf-
ficiently mastered the work of one section should not be permitted
to pass to the next, but should be given further work, either from
the regular lessons, or from the suggestions for optional modifications
until she has proven her capability of undertaking the processes set
forth in the next section. It is not necessary that all students of the
class be working on one project or even projects from the same sec-
tion at the same time; in fact, too much emphasis can not be laid
upon the matter of giving to each girl the work best adapted to her
personal development, regardless of what the other members of the
class may be doing at that particular time. One of the principal
reasons for placing the textbook in the hands of the student is to
make it possible for this plan to be carried out.

On the opening page of each lesson is given a half-tone illustra-
tion to enable the student to visualize the essential points of the
thing which she is about to undertake. These illustrations will also
be found useful in guiding the teacher and students in making a wise
choice of projects. With each lesson will be set forth the amount of
material required for its construction. A suitable kind of material
is suggested; this does not mean that that kind of material is the
only one suitable, for in a great many of the projects a very wide
latitude of choice is allowed. However, the material recommended
is very commonly used and will give excellent results.

Following the name of the material will be found paragraph
references. These references refer to the supplement at the close
of the text. By referring to these paragraphs a discussion of the
different kinds of cloth will be found. These discussions will afford
material for research work, and it is urgently advised that teachers
require their students to make a careful study of these references.

No attempt is made to give a technical discussion of the various

fabrics, but merely to cover the points of general information which
will be found of practical value in the average home. This reading
may be done outside the regular sewing period, it may be used as the
basis for language or composition work, or used in a number of ways
which will no doubt suggest themselves to the thoughtful teacher.

On the first page of each lesson will be found the "Introductory
Statement." The purpose of the introductory statement is to enable
the student to realize that the thing set forth deals with a home prob-
lem. While no effort is made to give the child a full comprehension
of the home problem which the project of that lesson helps to solve,
yet the introductory statement is made sufTiciently exhaustive to
bring to the mind of the student the fact that such a problem exists
in the average home. TTiroughout the text it has been the policy to
offer no project Which does not have a real function in home life.
Students should read the introductory statement of each project
which they make. It would also be well to have all the introductory
statements read and discussed in class regardless of the projects
which the class is to undertake. This consideration of these intro-
ductory statements will develop the judgment and awaken the interest
of the students in a way which would not be possible if they were
omitted.

At the close of the introductory statement a number of references
will be found. The purpose of these references is to cite authority
to which students may refer for kindred information. Students are
often at a loss to know where they may find reading matter pertain-
ing to Domestic Art subjects. The references given in connection
with each lesson are not necessarily kindred to the problem set forth
in that particular lesson, but they will be found of great value in con-
sideration of the general problems embodied in the lesson.

On the second page of each lesson a number of suggestions for
optional modification are given. These pages are designed with the
idea of bringing before the students possibilities of developing the
idea given in the project, and of encouraging them to use their
own initiative in the construction of similar projects. Students should
be encouraged to make a great deal of use of the suggestions for
optional modification, and from the ideas set forth in these sugges-
tions, they should be required to design and execute as many
ideas of their own as possible. No attempt is made to give complete
working directions for the difi"erent optional modifications presented.
Only a mere suggestion can be offered relative to each. The re-
mainder of the work is purposely left for the student to develop.

On the last page of each lesson the working directions are given.

The purpose of the working directions is to guide the student in the
construction of the project. It is not claimed that the methods of
construction, and the manner of procedure set forth in these working
directions, are the only possible ways of doing the work; these di-
rections are given merely as safe guides. It will be found most bene-
ficial to require the students to read for themselves the directions as
set forth, and to execute the work without further interpretation from
the teacher. This method will not only develop the power of self-
reliance and research of the student, but will conserve the time of the
teacher for her more important duties. The teacher should assist a
student only when that student has exhausted her own resources in
interpreting the method of procedure.

Throughout the working directions a great many paragraph ref-
erences are given referring to the supplement. Each of these ref-
erences should be carefully studied, for in them will be found half-
tone illustrations, and carefully worded discussions explaining how
to execute the ordinary fundamental stitches and details of the most
important processes of jjlain sewing. After the student has followed
these references in a few lessons she will then be able to continue
her work without further reference to them except as new processes
are introduced. Sufficient references should be made, however, to
make sure that no incorrect habits are developed. Throughout the
text a great deal of latitude has purposely been offered in many of
the processes. Custom has caused considerable variation in the exe-
cution of a number of processes in sewing. The practices set forth
in this text are such as have been thoroughly tested by many years
of teaching experience, and have also been recognized and approved
by practical seamstresses.

At the close of each section will be found a list of review ques-
tions. The purpose of these questions is to make sure that the stu-
dents have gathered the most important points from the projects in
that section. These questions may be used for written examinations,
for oral tests, or in any way that the teacher may see fit. No doubt
the teacher will have a great many important questions which may
be added to this list. The careful consideration of the questions given
will reveal the fact that the purpose of these tests is not merely a
matter of examination, but they are designed to develop in the student
an interest in home problems, and to inculcate a desire to take part
in home activities.

At the close of each section will also be found a number of sug-
gestions for application to home problems. The underlying function
of this text is to connect school needlework with practical home

sewing problems. In order to do this, every effort is made to bring
the home problems into the school work and to encourage the chil-
dren to carry home the principles developed in the class. Every
teacher should encourage her students to bring from home a great
number of pieces of work to be used in the class period. There is
no reason why much of the home mending, darning and patching
may not be done by the girls at school. It is at least imperative that
the girls should assist in the work at home even if they do not carry
a portion of it to school. Whatever emphasis is placed on the regular
lessons of this text, there certainly should be no neglect of the sug-
gestions for home application. Specific directions can not be given
for conducting this work; each ter cher must be left to her own re-
sources and initiative in working out ways and means of connecting
home and school activities. The success of school sewing must be
measured in a large degree by the interest which the girls have in
home work, and by the results they get in their home undertakings.
Girls should be encouraged to ask questions of their mothers, to
bring such information to school and to compare that information
with the information gathered from their research work. The care-
ful handling of the subject in this way will make it possible for the
girls to have the advantage of the scientific information set forth in
the text, plus the practical experience of the home. It must be con-
stantly kept in mind that it is not the purpose of the work merely
to teach the girls a few needle practices, but rather to give them a
broader education in the art of home sewing and to develop their
appreciation for this class of life problems.

INSTRUCTIONS TO STUDENTS

WHEN you undertake this work in sewing it will seem a little
strange to you at first for it is somewhat different from the
regular class work which you have been doing at school. In
this work you will have a chance to learn by doing as well as by
studying and thinking, and you can always make use of some of the
things which you have learned at home. This work should be ex-
tremely interesting to you because of its relation to the things which
you will no doubt be called upon to do throughout j'our entire life.
The purpose of sewing work is not merely to furnish you employment
for your hands, but to teach you to direct your hands skillfully in
the doing of the things which your mind must fully understand. It
is very interesting to know that the skillful use of the hands comes
only by proper guidance from the brain, so this work in sewing will
give you a chance to use both mind and hand. The difference between
a great artist and a laborer lies in the fact that the artist puts more
brain work into his efforts than does the laborer; this explains why
one is an artist and produces things of beauty, while the other is
compelled to do the drudgery of the world.

There is such a great number of valuable and interesting things
given in these lessons, that you will be able to make selection of the
ones which you like best. This does not mean that you should simply
peruse the book and choose the thing which pleases your fancy
without regard to your need or preparation to undertake it. ITie
lessons set forth in the early portion of the book are easier because
they employ elementary processes. Throughout the book you will
find that the projects become more difficult because they introduce
more advanced principles. You must not expect to undertake the
more difficult lessons until you have successfully completed some of
the elementary ones. It would be well for you to discuss with your
teacher and your mother the project which you wish to undertake.

After you have begun a project, never leave it until it is finished.
Half finishing a task is not good training for it develops slovenly
habits which, if followed, are sure to bring unsatisfactory results.
You should cultivate the habit of finishing any task when you have
once undertaken it, even though you may find some portion of it
rather irksome and difficult.

Sometimes the school program is so arranged that the sewing
class does not meet every day; this is frequently offered as an excuse
for forgetting materials or neglecting to bring some equipment nec-
essary for the recitation. Certainly such carelessness should be
avoided. At the beginning of the work, pro\ide yourself with some
sort of sewing basket, box or bag. A properly made sewing apron
with pockets will also aid greatly in caring for your equipment.

A pair of sharp shears, a tape measure, a thimble, a paper of
assorted needles and a supply of thread should always be on hand.
Tlie larger materials, trimmings, etc., required for the different
projects, may be provided as needed.

Work should never be carried home without the permission of
the teacher, however, it would be well to take partly finished projects
home occasionally in order that your mother may have an oppor-
tunity to see just how you are doing your work. When work is thus
taken home it should not be left there for mother or someone else
to finish, but should be promptly returned to school in order to be
continued at the next regular sewing period. Your textbook may also
be taken home frequently for reference in connection with your home
sewing duties, but it must always be brought back to the classroom
in ample time for the school work.

At the opening of each lesson you v/ill find an illustration giving
you an idea as to the appearance of the finished product. You should
study the illustration carefully, for it will enable you to form a clear
idea of the thing which you are about to undertake. You will also
find a list of the materials which will be required to make that par-
ticular project. Of course in some cases the size of the material will
vary, particularly, if it is for a wearable garment, for in that case the
size of the person who is to use the garment will determine the size
of it. You will notice that there are paragraph references following
the name of the material suggested. You should turn to the supple-
ment at the back of the text, and read carefully the i)aragraph referred
to, for this discussion deals with the particular kind of material
recommended for the project. It is just as important that you should
understand the nature of the material that you are using as it is to
be able to make the piece of work. This does not mean that the kind
of material suggested in the lesson is the only kind suitable; in sewing
you have a great choice of materials, however, the kind of material
mentioned is generally the one most commonly used.

Every lesson has an introductory statement on the first page.
This statement deserves very careful study for it will help j'^ou to

understand that this particular project is given because it has a prac-
tical value in the solution of some home problem. You may not
always fully understand the home problem, but it will be worth while
for you to think about it.

At the bottom of the first page of each lesson you will iind a
number of references. These books may be found in your library
or in some public library to which you have access. These references
are given for the purpose of enabling you to find further reading
matter along the lines set forth in this book. It will be well for you
to read many of these references, for you not only wish to become
skillful in sewing processes, but you should develop as much infor-
mation as possible in connection with the subject.

On the second page of each lesson you will find some additional
pictures and suggestions for original ideas which may be used. These
illustrations show some suggestions for optional modifications; that
is, they will show you some changes which can readily be made in
the project and at the same time not introduce any entirely new prin-
ciples. You will observe these changes or modifications usually deal
with matters of decoration. It will be well for you to attempt original
designs in as much of the work as you can, always discussing with
your teacher the ideas which you expect to undertake.

The next page of each lesson takes up the matter of working
directions. These working directions are given with the idea of
guiding you in doing all your work. You should read them very
carefully as the work progresses. You will notice a number of
paragraph references throughout the directions, these references refer
to chapters and paragraphs in the supplement. Each one of these
references should be found and studied carefully, for here you will
find the complete directions and illustrations showing you exactly
how to carry out each dilTicult process. The working directions do
not make any attempt to illustrate or give details of sewing processes,
all these are set forth in the supplement. It may not be necessary
for you to refer to the supplement more than once or twice on each
process, but you should refer to it often enough to make sure that
you are doing your work correctly, and thus avoid forming any in-
correct habits.

The real value which you get from this work will depend upon
the way in which you approach it. Do not attempt to finish any piece
of work in the shortest possible time, rather try to see how well you
can do it. There are really not a great many difficult things for you

to learn in sewing, but there is an unlimited number of ways in
which you can employ those things.

A great many girls make the mistake of starting a piece of work
in a rather careless hurrying manner; they often become proud of the
work when it is near completion and desire to make it neat and at-
tractive, but it is marred by some of the errors which were made on
account of too much haste at the start. Remember that the time to
begin a very fine piece of work is at the first step in its making. An-
other very important thing for you to learn from these lessoas is to
be orderly and systematic in all your habits of work. The sewing
work gives you an opportunity to observe the value of having a
place for everything, and of keeping everything in its proper place.
When you are through with the sewing period all working materials
should be carefully laid away so you will know where to find them
when they are needed again. Habits of this sort should be developed
in all of your work for neat and orderly habits are sure to lead to
success in any occupation.

At the close of each section you will find a list of re\aew questions.
These review questions should be carefully studied. It would be
well to keep a notebook in which to write the answers to these ques-
tions. This will make sure that you are gathering the most important
points as you complete each section.

The pages presenting "Suggestions for Home Application" are very
important, for these applications will be the real test of what you
have learned in the sewing work. If in the making of any single
project you have not mastered some principles which you can apply
on the problems at home, your work will have been much in vain.
Take an interest in the problems of repairing, patching and darning
at home. See how many of the different things which you have
learned in school can be employed at home. It would be advisable
to have a definite period each week in which to spend as much time
as convenient on the home garments, practicing the instructions set
forth in the sewing lesson.

Your parents will no doubt be very much pleased to find you
taking an interest in the home problems. You would be surprised if
you could know how much you may lighten mother's tasks by assist-
ing a little in these problems which she must consider day after day,
month after month, and even year after year. You might be able to
assist in selecting and purchasing materials for garments for yourself
or members of the family if you have properly acquainted yourself
with the different textiles explained in this book.

Undertake this work not with the idea that it is drudgery or
labor, but with the feeling that it is an opportunity to use your best
powers of thought in some of the most worthy tasks which it is a
woman's privilege to undertake.

INTRODUCTION TO SECTION I

SECTION I deals with the most elementary processes of hand
sewing. The lessons set forth in this section will be found suit-
able for sixth or seventh grade girls who have had no previous
systematic training in sewing. Before undertaking any of the sewing
lessons, each girl should be supplied with simple sewing equipment,
such as needles, thread, shears, tape measure, thimble and some sort
of sewing bag or box. The sewing materials may be brought from
home or they may be purchased in bulk and passed out at school as
the teacher sees fit. This is purely a local problem, but it is extremely
necessary to have arrangements made whereby each girl may be satis-
factorily supplied at the sewing period.

Each girl should be supplied with a text of her own in order
that she may have the undisturbed use of it; each student should be
required to read freely and to interpret for herself.

Before undertaking any of the actual work in sewing, the girls
should be required to turn to the supplement and study carefully the
correct and incorrect position, to make sure not to form any bad
habits in their daily work. The different stitches and processes may
be referred to, and studied as they are introduced in the making of the
project.

It is ad\ised that students who have had no previous training
make their first selection from the early projects set forth in this
section. As many projects from this section should be made as is
necessary to acquaint the student with the elementary stitches set
forth. It is not supposed that students should absolutely master all
of the processes set forth before they are allowed to pass on to the
next section. Success, speed and skill in se\\'ing come only after long
and careful practice.

If a student has acquired high ideals of excellence, and under-
stands that each process must be executed to the very best of her
ability before undertaking another one, the particular processes cov-
ered by her work need not be a matter of deep concern.

NEEDLE BOOK

MATERIALS.

Art Canvas (Chap. I. Par. 8).

Outing Flannel (Chap. I, Par.
30) or

Felt (Chap. I. Par. 58).

1 piece art canvas 4y2"x6V2 ".

1 piece outing flannel, or felt,
6"x7".

Crewel or rafTia needle No. 5.

Colored san silk, or similar
mercerized embroidery
cotton.

INTRODUCTORY STATEMENT.

A place for everything and everything in its place is a rule that
applies particularly well to the sewing basket, which easily becomes
so hopelessly out of order that a great deal of time may be wasted
in looking for the articles which it contains,

A needle book is a very convenient article to have for the work
basket, as it provides a place in which to keep needles of various
sizes. It is also a very convenient way of carrying a few needles in
the t-raveling bag as it folds flat and occupies very little space. Cre-
tonne makes a pretty needle book cover, but being a figured material,
leaves but little opportunity for hand decoration.

The art canvas used for the cover of the needle book in this
lesson is suggested because it gives an opportunity not only to make
a pretty cover, but also to practice some of the stitches which will
be used later.

References :

Needles, How We Arc Clothed, Chamberlain.
Needles, Great American Industry, Vol. Ill, W. F. Rocheleau.
Pins, The Making of America, Vol. VII, Chas. M. Karch.
Pins, Great American Industry, Vol. Ill, W. F. Rocheleau.

SUGGESTIONS FOR OPTIONAL MODIFICATION.

BOOKMARK.
No. 1. A bookmark may be made of one strip of art canvas
about 2"x8", blanket stitched the same as the needle book, with neat
stitches for trinmiing.

NAPKIN RING.
No 2 The napkin ring is made very much like the bookmark,
with a row of catch stitching and chain stitching inside. The rmg is
formed by over-lapping and fastening the ends.

PENWIPER.

No 3 The penwiper is made of art canvas with leaves very
similar to the needle book. The leaves are fastened to the base by
taking a short stitch and tying the thread.

NEEDLE CASE.
No 4 A needle case mav be made of cretonne about 3" wide by
7" long A contrasting plain color is basted to the wrong side, and
the ed^e of the cretonne is turned over it and hemmed in place, the
leaf is made of outing ilannel or felt. The book is folded over like a
pocket book and fastened with a snap.

WORKING DIRECTIONS FOR NEEDLE BOOK

Straighten one short edge of the art canvas by drawing a thread
and cutting on the line (Chap. II, Par, 102). Straighten one long edge
of the material in the same manner. On the short edge measure out
4". (The length of the needle book), draw a thread, and cut on the
line. On the long edge measure out 6" (twice the width of the needle
book). Draw a thread and cut on the line.

DECORATING THE COVER.

Finish the edges of the art canvas with blanket stitching (Chap.
II, Par. 128), making the stitches at least ^A" deep and Vs" apart. As
the canvas ravels easily you must avoid pulling the thread too tight
while working.

The stitches used in decorating the surface of the cover may be
selected as desired, but the running stitch (Chap. II, Par. 106) is
used in the booklet shown in this lesson. A short stitch like the
running stitch, backstitch or cross-stitch, is better to use for this
purpose than a long stitch, on account of the corners that must
be turned.

THE INITIAL.

An initial with square corners should be used if it is to be worked
with the cross-stitch, as you cannot work very satisfactorily on curves
with this stitch. First design the initial desired on a piece of
paper, copy it with a pencil in the center of one side of the cover, as
shown in the illustration, or if necessary, transfer it with carbon
paper, as follows: Pin a piece of carbon paper slightly larger than
the initial, carbon side down on the needle book. Place design over
it, pin it down at the top and bottom and trace it with a lead pencil.
Remove design and carbon paper and work the initial by taking first
a vertical stitch, then a horizontal stitch on the lines of the drawing.
The slanting cross-stitch may be used instead, if desired, by follow-
ing the directions given in Chap. II, Par. 124, or the backstitch will
make a pretty initial (Chap. II, Par. 107).

PREPARING MATERIAL FOR LEAVES.

Straighten one short edge of the outing llannel by drawing a
thread and cutting on the line (Chap. II, Par. 102). Straighten one
long edge in like manner. To lay out the large leaf, measure out on
the long edge of the material 3^ j", the length of the leaf, and draw a
thread. Measure down on the short edge of the material bVo" (twice

the width of the leaf) ; cut on the lines. Make the second leaf 8 " long
by 5" Avide, in the same manner.

Blanket stitch (Chap. II, Par. 128) completelj^ around the edges
of these pieces with the mercerized cotton. If felt is used for these
leaves, the edges may be finished with small notches. Outing flannel
would ravel if finished in this way.

FASTENING THE LEAVES TO THE COVER.

Fold the narrow ends of the cover together as you would close
a book and crease firmly on the fold. Open Hat on the table or
desk. On the upturned side lay the largest piece of outing llannel.
On this piece place the second, arranging them so there is a uniform
distance between the edges of each leaf and cover, all the way round.
Hold the leaves against the cover as you have placed them, then turn
the cover side toward you and with a needle and double thread sew
through the crease formed by the folding, inserting the needle about
1" from the upper edge of the cover, leaving about 6" of the thread
extending to tie in a bow; bring the needle through again about 1"
from the lower edge of the book cover, on the same fold. Cut the
thread ofT near the eye of the needle and tie the two ends in a neat
bow. Trim the thread if necessary.

Needles may be arranged in vertical rows in the leaves of the
needle book where they will be ready for use when needed.

WASH CLOTH

MATERIALS.

Turkish Toweling (Chap. I,
Par. 35).

1 piece Turkish toweling 14"
square.

San silk, or similar mercer-
ized cotton the color de-
sired.

Crewel or embroidery needle
No. 5.

INTRODUCTORY STATEMENT.

There is an old axiom, "Cleanliness is next to Godliness." This
is a general statement and refers to the care of the body as well as
the care of the home. The wash cloth is a valuable aid in keeping
the face clean. It takes quite a number of wash cloths for the aver-
age family for they lose their efficiency after they become badly
soiled, and clean ones need to be supplied frequently.

It is very desirable for each member of the family to have an
individual wash cloth, which may be marked with an initial. While
any soft cloth will answer the purpose, Turkish toweling, which has
been suggested for the wash cloth in this lesson, is particularly de-
sirable because of its loosely woven threads, giving a rough texture
which readily removes the dirt from the skin. Soft huck toweling is
also used for wash cloths.

References :

Story of the Cotton Plant, F. Wilkinson.

Manufacture of (lotton, The Great Industries of the Tnited States.

30
SUGGESTIONS FOR OPTIONAL MODIFICATION.

WASH CLOTH.

No. 1. This is a Avash cloth made from Turkish toweling about
12" square with a Yi" hem, blanket stitched around the four sides.
The initial is worked with the outline etching stitch.

WASH CLOTH.
No. 2. This wash cloth is made of huck or Turkish toweling
about 12" square with a l(i" hem, basted, then held in place on the
right side with catch stitching. The initial is worked in French

knots.

WASH CLOTH.

No. 3. This wash cloth is made of Turkish toweling 12" square
with a Vi" hem held in place with crocheting. San silk, or some coarse
mercerized thread is used. The initial is worked with the unpadded
satin stitch.

WASH CLOTH.

No. 4. This is a factory made wash cloth edged with crocheting
of mercerized thread to match the color in the wash cloth.

WORKING DIRECTIONS FOR WASH CLOTH

PREPARING MATERIAL.

If necessary, straighten two adjoining edges (Chap. II, Par. 102)
of the Turkish toweling by drawing a thread on each of these edges
and cutting on the lines formed; then from the corner, measure out
on each edge 12" (the size of the wash cloth before it is hemmed);
mark each measurement with a pin and draw one thread, forming
lines, one lengthwise and the other crosswise; cut on these lines.

TURNING AND BASTING THE HEM.

A hem has two turnings, the smaller of which turns under the
raw edge and should be Vs" to ^A" in width, and the wider turning
which makes the finished hem; it may be any width desired. Allow
about Vi" for the first turning on the edge of the wash cloth. Turn
one edge down (even with a thread of the material), toward the side
of the wash cloth which you may call the wrong side (there is no
right and wrong side to the Turkish toweling) ; baste with even
basting about i/4" long (Chap. II, Par. 103), as you turn. On the
other three sides turn and baste as you have the first side (making
the basting stitches as even as possible).

After the first turning of the hem is made around the four
edges of the cloth, make the second fold in the hem by beginning on
one edge and folding over the edge of the material again y^" towards
the same side on which you have already turned the raw edge; baste
in place carefully with even basting, as you fold. Turn and baste
the hem on the adjoining side in the same manner, being careful to
keep the edges even at the corner. Continue turning and basting
until the hems have been turned and basted on all four edges of
the wash cloth.

SEWING THE HEM IN PLACE.

Sew the hems in place with the hemming stitch (Chap. II, Par.
114). Using coarse colored thread will give a pretty appearance to
the wash cloth, and will also enable you to see whether you are
getting your stitches even. Hem all four sides of the wash cloth.

You will notice by carefully examining the corner of the wash
cloth that the ends of the hems are open. These will look neater if
sewed together with the overhand stitch which is generally used to
fasten together the ends of hems. You may overhand (Chap. II, Par.
109) the ends of the four hems.

DESIGNING AND TRANSFERRING THE INITIAL.

An initial may be selected from a commercial pattern book and
:used as a guide in designing your own initial, or the commercial
-pattern for the initial may be used. If the commercial pattern is
;used, transfer the first initial as follows: Place it in the position
.desired with the rough side of the initial down, pin it to the material
;in two or three places and press it with a hot iron for about one
minute. After the pattern has been used once it will be necessary to
use carbon paper to get other copies from it. To do thic, place the
carbon paper with the carbon side down on the wash cloth, over the
place where you wish to have the initial, then place the pattern over
the carbon paper, pin in two or three places to keep it from slipping,
and trace around the design with a lead pencil. As it is difficult to
transfer a design onto the rough Turkish toweling, trace around the
initial several times before removing it.

If you wish to design your own initial, print it, or write it care-
fully on a piece of paper first, and submit it to your teacher for
.correction. It should be from 1" to 2" high and should have the
width in proper proportion. After the initial is designed, it may be
copied onto the wash cloth with carbon paper, as directed above, or
,may simply be drawn freehand on the cloth, using the pattern as
,a guide.

WORKING THE INITIAL.

Remove the pattern and the carbon paper and work the initial
^with the outline etching stitch (Chap. II, Par. 125). The initial may
be worked with French knots (Chap. II, Par. 130) or chain stitch
,(Chap. II, Par. .126).

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HAND TOWEL

MATERIALS.

Crash Toweling. (Chap. I,
Par. 44).

V2 yard crash towelinj*.

41/2" white cotton tape, %"
or 1/2" wide.

White thread No. 70.

Needle No. 8.

INTRODUCTORY STATEMENT.

There are a great many different kinds of hand towels, but
plain or fancy, they are all used for the same general purpose, that
is, to dry the hands and face. A towel should be made to suit the
particular purpose for which it is intended. Crash tow^eling is gen-
erally used for towels which receive hard wear, such as the kitchen
towel, while huckaback or damask linen is more often selected for
the finer towels used in the bedroom or bathroom.

The material suggested for the towel in this lesson has a smooth
finish that does not leave lint and is used, as a rule, for drying fine
china and glassware. It is also frequently used for the hand towel
which hangs on the apron band. It is a particularly suitable material
for beginning problems in sewing because the stripes serve as a guide
in turning the hem.

Although this is the kind of towel generally used in a school
kitchen, it will also be found verv convenient for home use.

References:

LiiK'i), How We Are (>l()ttiecl, Chamberlain.
Linen, How It Grows, National Flax Fiber Co.
Linen. .]oiirn;il of Education. \'ol. XLV, p. 177.

34
SUGGESTIONS FOR OPTIONAL MODIFICATION.

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ROLLER TOWEL.

No. L This roller towel is made of 2V2 yards of linen crash

toweling. The raw edges of the towel are joined with a felled seam.

While the roller towel has been condemned for public use, because

of its being unsanitary, it is still used for a kitchen towel in many

'^^"^^^' KITCHEN TOWEL.

No. 2. This kitchen towel may be made of linen crash toweling,
1 yard long. The hems on the ends are stitched with the sewing
machine. The initial is Avorked with the outline etching stitch in a
color to match the border on the towel.

HAND TOWEL.

No. 3. This hand towel may conveniently be made from ^'2 yard
crash or huckaback. It is to be buttoned on an apron band, or hung
on a hook in the lavatory or bathroom. The cross-stitch initial is
worked inside of a cross-stitch wreath.

35
WORKING DIRECTIONS FOR HAND TOWEL

PREPARING MATERIAL.

Straighten one end of the material by drawing a thread and cut-
ting on the line (Chap. II, Par. 102). Measure down one of the edges
18 inches (one-half yard), the length of the towel, and draw a thread.
Cut on line.

TO HEM THE TOWEL.

Tlie narrow overhand hem used on this towel is called the French
hem (Chap. II, Par. 119); it is the same kind of hem used in finishing
the ends of table cloths and napkins. Because it is so commonly
used you should learn to do it well. For the first turning of the hem,
fold over one end of the tow^el about 14", keeping it even with a
thread; crease firmly with the thumb. For the second turning of the
hem fold the same end of the to^vel over again 1/4 " toward the same
side that you turned the raw edge and crease again firmly. If the
toweling is very stiff, it will not be necessary to baste this hem in
place as it will stay creased without the basting, but if it does not
stay creased well, baste carefully along the edge of the hem with
even basting (Chap. II, Par. 103).

Turn the hem thus formed back on the opposite side of the towel
and crease firmly, making the edge of the hem and a thread in the
body of the towel lie together in a parallel line. Knot the thread and
slip the needle through the hem at the beginning, then overhand
(Chap. II, Par. Ill) the two edges together, being careful to take
small, shallow stitches. Fasten the thread securely at the end of
the hem by sewing over the last stitch two or three times. With the
thumb and forefinger of the left hand, press the hem llat. Overhand
each of the open ends of the hem. Finish the other end of the towel
in the same manner.

SEWING ON THE TAPE.

As this is a small hand towel, it is supposed to be hung from
the band of the apron where it will be convenient for use. It is to
be suspended with a loop of tajie which may be formed and sewed
on in eitl]er of the following ways:

FORMING THE LOOP.

(First Method)

Take a piece of cotton tape about V4" wide and 4" long. Fold
over the raw edges at each end about 14", turning them both to the
same side; then lay the two ends together with the raw edges turned

under. Lay them on the wrong side of one corner of the towel,
allowing them to lap over the corner of the towel about V2". Baste
carefully in place with even basting (Chap. II, Par. 103) being care-
ful to keep the ends and edges of the tape even. Hem down on one
side (Chap. II, Par. 114) across the bottom, and up the other side of
the tapes, fastening them firmly to the towel. To secure the tape to
the towel at the corner, turn the towel toward you and hem around
the corner of the towel where it crosses the tape. If desired the tape
may be secured more firmly to the towel by making two parallel
rows of backstitching (Chap. II, Par. 107) across the ends. The band
of the apron is slipped through this loop before being buttoned.

FORMING THE LOOP.

(Second Method)

Fold over the two raw edges of the tape Vi" on each end, turning
them both toward the same side of the tape. Place the two ends side
by side( not over each other), making the opposite closed end of the
tape a V shape. This will make two edges of the tape lie together in
parallel lines. This line is to form the loop which is to serve as a
buttonhole, but you will notice that it is longer than necessary to
receive a button. It also needs to be fastened in order to keep it ir-
shape. In fastening these two parallel edges of the tape, some space
must be left for the button. Beginning next to the towel overhand
the adjoining edges of the tape together about 1/2", then leaving a
half-inch space unsewed to form the opening for the button, overhand
the edges together to the top of the V shaped loop; fasten the threads
carefully and flatten the tapes then hem across the piece of tape that
forms the wide part of the V.

To fasten the tape to the towel, lay it on one corner, on the
wrong side of the towel and with the raw edges turned under, hem it
down one edge, across the bottom and up the other edge, then turning
the towel toward you, hem (Chap. II, Par. 114) around the corner
of the towel.

HANDKERCHIEF
CASE

MATERIALS.

White, Figured or Plain
Colored Lawn (Chap. I,
Par. 23) or

Dimity (Chap. I, Par. 15).

1/2 yd. lawn or dimity at
least 18" wide.

1^2 yds. lace about %" wide.

White cardboard, 7 1/2 "x9 1/2".

White thread No. 70.

Needle No. 8.

INTRODUCTORY STATEMENT.

One of the first things that a girl should learn to do about the
house is to care for and keep her own room neat and attractive in
appearance. The dresser drawer, with its ribbons, handkerchiefs,
and the many little trifles that are necessary in a girl's toilet, is very
difficult to keep in order. If the different articles are kept in boxes
or cases it is very much easier to keep them from getting mixed;
that is, if all the handkerchiefs are kept in a handkerchief case, the
gloves in a glove box, the hair ribbons or neck ties in another box,
they can easily be found when desired.

The handkerchief case suggested in this lesson provides an
attractive place to keep the handkerchiefs. It may be kept either in
the drawer or on top of the dresser. If in the latter place, the
material of which it is made should harmonize with the colors in the
room; that is, if the paper and the window drapes have any one
color predominating in them, select material for the handkerchief
case which will not be out of harmony with that color.

References :

Manufacture of Thread, How \Vc Are Clothed, Chamberlain.

Lace, Goldenberg (Brentano 1904).

Lace, Its Origin and History, S. L. Goldenberg (X. Y. 1904).

38
SUGGESTIONS FOR OPTIONAL MODIFICATION.

HANDKERCHIEF CASE.

No. 1. This handkerchief case is made of linen crash 7V2"xl3y2"
(unfolded). The design is worked with the outline etching and satin
stitches. Lace is sewed around the top fold. It is tied with ribbon.

HANDKERCHIEF CASE.

No. 2. This handkerchief case is made of linen crash 13"xl8"
(unfolded). The long edges are folded to the center and a piece of
cardboard slipped under each i)Ocket formed. Lace is sewed on all
the way round, and it is fastened together with ribbon ties.

HANDKERCHIEF CASE.

No. 3. This handkerchief case is made of line crash, with end
llaps. One piece is H"x21" doubled crosswise. The other piece is
8"xl9" folded lengthwise. The 4"xl9" jjiece (after it is doubled and
stitched) is placed on the larger piece about 2^2" from one edge and
stitched on three edges.

NAPKIN CASE.

No. 4. Tliis napkin case is made of two pieces of cretonne, each
15"x22", folded lengthwise. Each piece is stilched sei)arately, then
the two are made to form a cross and stitched together.

39
WORKING DIRECTIONS FOR HANDKERCHIEF CASE

PREPARING MATERIAL.

Straighten one short edge of the material by drawing a thread
and cutting on the line (Chap. II, Par. 102). Straighten one long
edge of the material in like manner. On the short edge measure out
16" (the length of the handkerchief case doubled). Draw a thread
lengthwise and cut on the line. Down the long edge measure out
18" (the width of the handkerchief case before it is folded); draw a
thread crosswise and cut on the line.

PREPARING MATERIAL FOR POCKETS.

This handkerchief case is to be made double, and after the
material has been properly sewed together it is to be folded to form
pockets, then trimmed with lace, as shown in the illustration. As
the handkerchief case is to be made of a double thickness of the
material, the first step is to fold the material together lengthwise with
the right side turned in and the long edges and the ends made exactly
even. Pin in several places along the open edges to hold them in
position until they have been basted together. Baste the two ends
together with uneven basting (Chap. II, Par. 104), using Vl" seam.

A cardboard lYz'^^V^' is to be placed between the double thick-
ness of material under the pockets. A space OMi" long must therefore
be left in the center of the long edge. To do this, baste 4y2" towards
the center from each corner, leaving a space of ^Y-2," unbasted. Fasten
the pieces together permanently by sewing along the line of the
basting with the combination stitch (Chap. II, Par. 108). NOTE: The
handkerchief case is sewed together ^^Tong side out so the seams will
be inside w^hen the case is turned. Be careful to fasten the threads
firmly at each side of the opening where the cardboard is to be
slipped in, as there will be considerable strain there. The edges of
the opening are to be finished with a hem turned toward the wrong
side of the material. Baste with even basting (Chap. II, Par. 103),
using a narrow first turning, and hem neatly (Chap. II, Par. 114).
Turn right side out before the ends are folded over to form the
pockets; the ends are to be finished with lace. Lay the right side of the
lace on the under side of the handkerchief case on one end and
overhand the two together along the edge (Chap. II, Par. 112). Sew
the lace on the other end in the same manner.

TO FORM THE POCKETS.

The pockets are to be formed by folding the lace-trimmed ends
of the handkerchief case to the center. To do this, first, find the
center by folding the two ends of the case together and creasing
sharply with the thumb nail on the fold; then open and lay the edges
of the lace even with this crease so they will just meet in the center.
Crease the fold made at each end. Baste along the edges of the
pockets fastening them to the under side of the handerchief case with
uneven basting or tacking (Chap. II, Par. 104 or 105).

TO TRIM WITH LACE.

Overhand the lace (Chap. II, Par. 112) entirely around the outside
edges of the handkerchief case gathering it neatly at the corners.
NOTE: Be sure to catch both thicknesses of the material along the
sides of the pockets so as to hold them in place, but where the open
Ing is left for the cardboard the overhanding stitches should catch
only the top layer of material. Remove the bastings.

TO FINISH THE BOTTOM.

Cut a piece of white cardboard 7^2 "x9y2 ", Slip it into the open-
ing left for it in the handkerchief case.

ANOTHER METHOD OF FORMING THE POCKETS.

The pockets may be left loose and held in place by a ribbon
fastened in the center of the under side of the case. To do this, sew
the lace all the way around the outside edges of the case before
folding the pockets, being careful to sew it to the upper edge only of
the space which is left open for the cardboard.

SEWING APRON

MATERIALS.
Batiste (Chap. I, Par. 2).

V2 yd. batiste or any soft,
plain colored material.

IVa yds. ribbon.

San silk or mercerized em-
broidery cotton.

Needle No. 8.

INTRODUCTORY STATEMENT. r

Since laundering handmade articles, particularly if they are
decorated with handwork, frequently destroys much of their attrac-
tive appearance, it is desirable to keep them as clean as possible
during the making so as to avoid laundering. In order to do this it
is necessary not only to wash ones hands frequently, but to protect
the article from any dust that may cling to ones clothing.

A small apron answers this purpose very well and as there is
very little strain on it and it is not subject to any hard use, it may be
made as dainty as one desires. There are a great many styles and
designs of sewing aprons, but one with a pocket in which to keep
thimble, needle and thread is especially desirable.

The apron presented in this lesson is made as simple as possible.
It is not set on a band but merely has a hem at the top through which
a ribbon may be run. While it does not present any of the difficulties
of a more complicated apron, it will be found very satisfactory^ for
the service for which it is intended.

References :

Sewing Apron, Library of Work and Pkiy, Vol. VII.
The Story of Shears, Wiss Bros., Newark, X. J.
Maiuifacturc of Thimbles, Scovillc Mfg. Co.

42
SUGGESTIONS FOR OPTIONAL MODIFICATION.

COMBINATION SEWING APRON AND BAG.

No. 1. This project may be made of ^4 yard of toweling. The
pocket is 10 V2" deep. Two pieces of ribbon, or tape, serve as draw
strings and ties. The bib of the apron is tucked inside of the bag
when not in use. ^^^^^^ ^^^^^^^^. ^^^^^

No. 2. A sewing apron may be made of lawn % yard long and
22 " wide. Pattern should be drawn freehand. A casing for a ribbon
band is hemmed onto the apron at the waist line.

WHITE LAWN SEWING APRON.

No. 3. This sewing apron is made of white lawn with 2 " hems
on each side and at the bottom. The two bottom corners are turned
up to form pockets. The lace is overhanded together down the center
of the pocket. i^anCY SEWING APRON.

No. 4. A fancy sewing apron may be made of white lawn, with
scalloped edge and embroidered dots worked in a delicate color with
strings and rosettes made of ribbon.

WORKING DIRECTIONS FOR SEWING APRON

PREPARING MATERIAL.

The apron in this lesson may be made crosswise of the material.
This will bring a selvage on the hem at the top of the apron and also
at the top of the pocket; as a selvage usually draws the edge of the
material when laundered, trim it olf. Straighten one long edge of
the material by drawing a thread and cutting on the line (Chap. II,
Par. 102); from this line measure out 18" (half a yard), the width of
the apron, and draw a thread; cut on the line.

TO FINISH THE EDGES.

Measure down from the top of the apron 9V2" to the place where
the top of the pociiet will come, on one long edge. Mark with a pin.
On this long edge turn a V2" hem with a narrow first turning toward
the under side of the apron and crease firmly in place. Where the
pin is placed, make a cut across the hem and turn the edge over
in a hem tow'ard the upper or right side of the apron the rest of the
way to the bottom (this part of the hem will be inside the pocket
Avhen made). In this apron the basting thread is used as a trimming
for the apron and should be of a color that will contrast nicely with
the material used and each stitch should be made as nearly perfect
as possible. Baste the hem in place with even basting (Chap. II,
Par. 103) with thread to match the material in the apron. Finish
the opposite edge of the apron in the same manner. The cross-stitch
Chap. II, Par. 124) or catch stitch (Chap. II, Par. 120) may be used
instead of the basting to trim the apron.

TO FINISH THE TOP END.

As you will notice by looking at the illustration, this apron has
no band, but is held in place with a ribbon which is run through a
casing formed by a hem at the top of the apron. To prepare this
casing turn a hem with a narrow first turning 1" toward the wrong
side. Crease carefully and pin crosswise at each end to keep from
slipping. Baste in place with even basting (Chap. II, Par. 103) and
hem (Chap II, Par. 114) neatly. Remove bastings.

TO FINISH THE BOTTOM OF THE APRON.

A hem at the bottom of the material finishes the top of the i^ocket.
(The material is to be turned up to form the pocket.) In order to
have this hem inside of the pocket when the pocket is folded in

place, the hem must be turned toward the right side of the material.
Fold hem about ^ V' wide with a narrow first turning, baste carefully
in place with even basting (Chap. II, Par. 103) and hem neatly (Chap.
II, Par. 114). Remove bastings.

The hem may be finished on the right side with featherstitching
(Chap. II, Par. 121) or cross-stitching (Chap. II, Par. 124).

TO FORM THE POCKETS OF THE APRON.

The pockets should be about half as deep as the apron, but the
depth may be varied according to the taste of the one making the
apron. This must be decided when the hem is made down the
edge of the apron as the pocket must extend up to the place where
the hem is turned toward the under side. The pocket in the illustra-
tion is made 8y2" deep. To form the pocket fold the bottom edge
of the material 8V2" up on the right side and pin in several places,
being careful that both edges are even. Baste the pockets and the
under side of the apron together with even basting (Chap. II, Par. 103)
and overhand them together (Chap. II, Par. 109). Fasten the thread
very securely at the top, where it will be subjected to considerable
strain.

A line of stitches is made up and down the center of this pocket,
dividing it into two parts. To find the center, lay the opposite edges
of the apron together and make a sharp crease on the fold with the
thumb nail. Mark this crease with a basting thread, then backstitch
(Chap. II, Par. 107) up the crease, to form the two pockets. (If you
have used cross-stitching or featherstitching to finish the hems on
the apron, use a corresponding stitch to divide the pockets). Fasten
the stitches very securely at the top.

Run the ribbon through the hem at the top of the apron, making
the ends extend evenly. In the center, on the under side of the hem,
take two or three backstitches through the ribbon. This will keep
the ribbon from slipping out of place. Cotton tape or mercerized
dress braid can be substituted for the ribbon, or a 1" band may be
made from the material by doubling under and stitchmg, or over-
handing together (Chap. II, Par. 100) the edges of a strip about 2y2"
wide and long enough to reach around the waist; it may be fastened
with a hook and eye (Chap. II, Par. 133).

BOOK COVER

MATERIALS.

Butcher's Linen (Chap. I, Par. 42).
Linen Crash (Chap. I, Par. 44).

1 piece ol linen 1" longer than length
of book and 8" wider than twice the
width of the book to be covered, meas-
uring from the edge of the book to the
middle of the back binding.

Colored embroidery lloss with Crewel or
embroidery needle to correspond.

White thread No. 70.

Needle No. 8.

INTRODUCTORY STATEMENT.

Everyone loves a nicely bound book, but the hard use to which
books are sometimes placed, oftentimes destroys the beauty of the
binding. A book that is used constantly may be protected by some
sort of cover, either cloth or tough paper. Books which are carried
back and forth to school and exposed to different kinds of weather
may be made to last very much longer and retain their newness if
properly covered.

The book cover presented in this lesson is made of cloth and may
be constructed to fit any size book, the book of course being meas-
ured before the project is begun. When such a book cover be-
comes soiled it may be easily removed and washed.

References :

I'cokbindii-.K, in Printing ;(iul Writing Materials. A. M. Smith.
New IntcriKitional Encyelojiaedia, \'ol. Ill, pp. 224-226.

SUGGESTIONS FOR OPTIONAL MODIFICATION.

COVER FOR STORY BOOK.

No. 1. This book cover is made ot linen crasli to fit a book
entitled, "The Story of the Three Bears." An original design is
transferred with carbon paper and worked with the outline etching
stitch in brown and dark green.

COVER FOR COOKBOOK.

No. 2. This book cover is made of white linen, or Indian head to
fit a cookbook. The design is worked with the outline etching stitch.
White oil cloth also makes a suitable cover for a cookbook.

BOOK COVER FOR CHRISTMAS.

No. 3. This book cover is made of linen crash to fit a book used
as a Christmas gift, the season being indicated by the holly, blue
birds, and Christmas wishes.

BOOK COVER FOR TEXTBOOK.
No. 4. This book cover is made to fit a textbook on manual
training. The design on the front cover of the book was copied by
laying Ihin white paper over the cover and tracing the design on
the paper, then transferring it to the book cover with carbon paper.
It is worked with brown embroidery cotton using the outline etching
stitch.

47
WORKING DIRECTIONS FOR BOOK COVER

PREPARING MATERIAL.

If necessary straighten Ihe shorter edge of the material (Chap. II,
Par. 102). Straighten the adjoining edge of the material in like
manner. If either edge is a selvage trim off about V^" of it to keep
the edge from puckering when laundered. .

The size of the book cover will depend on the size of the book
which you Vvish to cover. The length of the book cover should be
1" more than the length of the book. This will allow for two Vk"
hems with Vi " turnings. The flaps should be wide enough to hold the
cover securely in its place on the book. Three to 3V2 is a good
width for a moderate sized book cover. The width of the book cover
should be twice the width of the book from the edge of the cover
to the middle of the back binding plus 7^2" for the two flaps and hems.

Measure out on the short edge of the material the length of the
book cover; draw a thread lengthwise and cut on the line. Measure
down the long edge the dimension for the width of the book cover
and draw a thread crosswise; cut on the line.

TO FINISH THE LONG EDGES.

The long edges of the book cover should be finished with hems
before the flaps are turned, so they will lap under properly when the
flaps are made to receive the cover of the book. On one edge make
a hem i/4" wide with a I/4" first turning creasing it carefully on a
thread. Baste with even basting (Chap. II, Par. 103). Try the cover
on the book to see whether the V4," hem allowed on the other side will
make it just the right size. The other hem should be just the same
width as the first one; if there is extra material there, trim it off even
with a thread. Make the hem on the second edge in the same manner
as the first.

TO MAKE THE FLAP.

The raw edge on the end of the flap might be finished with a plain
hem 1/4" to 1" deep, but a hemstitched hem is more attractive, so it
lias been used in the cover shown in the illustration. It is to be ^V'
wide. Fold, pin crosswise, baste and single hemstitch in place (Chap.
II, Par. 11.")). Prepare the opposite end in the same way.

To finish the first flap, fold the end of the cloth over 3" onto the
wrong side of the material. Baste with even basting (Chap. II, Par.

103), and overhand (Chap. IT, Par. 109) the ends onto the body of
the book cover. Prepare the other flap in the same manner.

THE DESIGN.

The initial to be placed on the book cover may be designed in the
drawing class, or a commercial pattern may be used. The initial
designed should be simple in form for it requires considerable prac-
tice to work an elaborate initial.

If a commercial pattern is used, transfer the initial by laying it
rough side dov^n in the proper place on the book cover and pressing
it with a hot iron. To use the carbon paper, pin a piece a trille larger
than the letter in the place desired, place the initial over it and trace
around it with a lead pencil. Remove the pattern and carbon paper.

TO WORK THE INITIAL.

The initial is to be worked with the satin stitch (Chap. II, Par.
131). Use embroidery cotton that will harmonize or contrast nicely
in color and fineness with the material. The padding for the satin
stitch may be done with embroidery cotton of appropriate color.

BUTTON BAG

MATERIALS.

Linen Crash (Chap. I, Par.
44).

Gingham (Chap. I, Par. 19).

1 piece linen crash or
checked gingham 9" wide,
22" long.

Embroidery floss or san silk
(colored) with embroid-
ery needle to correspond.

Thread No. 70.

Needle No. 8.

INTRODUCTORY STATEMENT.

Some place in which to keep the collection of buttons of various
sorts is a necessity in every household. Buttons may be cut from
worn out or discarded garments and kept in this receptacle lor fu-
ture use.

The design and shape of a button bag is not important, as its
principal purpose is for convenience. It may be desirable to make
it rather large with several compartments so as to provide suitable
places in which to keep different kinds of buttons.

As this bag is made for service it should be of some strong, sub-
stantial material. It is not intended to be a piece of art needlework,
it should, however, be neatly made for no project however simple
should ever be carelessly done.

References:

Manufacture of Buttons, The Great Industries of the United States.
Story of the Making of Buttons, How Wc Are Clothed, Chamberlain.

SUGGESTIONS FOR OPTIONAL MODIFICATION.

BUTTON BAG.

No. 1. This bag is made of gingham. The freehand design was
transferred with carbon paper, worked with the outline etching stitch
and trimmed with buttons and beads.

CROCHET BAG.

No. 2. This bag is made of ribbon, with narrow pleats feather-
si itched on each side, to make a strip to hang over the wrist. A
pocket for the crochet cotton is formed by sewing the ends together.

No. 3.
as No. 1.

MARBLE BAG.

This marble bag is made of linen crash in the same way

BUTTON BAG.

No. 4. This bag is made from a circular piece of gingham,
hemmed around the edge. Two strips 12" long and 4" wide are
stitched on in the shape of a cross in the center of the inside of the
bag; the open ends form pockets. It is closed with cotton tape drawn
through eight brass rings sewed on the edge of the bag.

51
WORKING DIRECTIONS FOR BUTTON BAG

PREPARING MATERIAL.

Straighten two adjoining edges of the material (Chaj). II, Par.
102). On the shorter edge measure out 8" (the width of the bag),
draw a thread lengthwise and cut on the line drawn. On one long
edge, measure down 20" (twice the length of the bag plus the hems at
the top). Draw a thread and cut on the line.

TO FINISH THE LONG EDGES.

This bag is to be joined on the edges with an overhand seam
(Chap. II, Par. 110). The raw edges of the seams are to be turned
under and hemmed dow^n to make neat seams inside the bag. On one
of the long edges of the material fold a hem about ^4" wide with a
narrow even first turning. Baste with even basting (Chap. II, Par.
103) and hem neatly (Chap. II, Par. 114). Finish the opposite edge
in like manner.

TO MAKE THE HEMS ON THE ENDS.

(These hems must be made before the bag is sewed up). On
one end of the material fold a hem 1^/4" wide with a narrow first
turning. Baste with even basting (Chap. II, Par. 103) and sew neatly
in place with a hemming stitch (Chap. II, Par. 114).

A space must be provided in this hem through which to slip
the draw string. To do this, make a row of running stitches the full
length of the hem (about %" from the edge). Finish the other end
of the material in the same manner. The design should be placed
on the bag before sewing up the seams.

MAKING AND TRANSFERRING THE DESIGN.

It is very desirable to have an original design worked out in
the drawing class. To transfer the design to the bag, first fold the
ends of the bag over as you would if you were going to sew the edges
together. Next lay a piece of carbon paper just a trifle larger than
the design, carbon side down on the bag, in the position which you
think is best suited for the design. Place the design on this and pin
it to the bag in several places to keep it from slipping. Trace around
the design with a lead pencil. Remove pattern and carbon paper from
the bag and work the design with the outline etching stitch (Chap.
II, Par. 125).

TO FINISH thp: seams on the bag.

As overhand seams are frequently sewed together on the right
side, you may lay the wrong sides of the material together making all
the edges even. As it is necessary to leave the casings in the hem
open at the ends for the draw string, you may begin at the hemming
stitches on the lower edge of the end hems and baste the hemmed
edges together with even basting stitches (Chap. II, Par. 103). Then
overhand the basted edges making an overhand seam on each edge
of the bag (Chap. II, Par. 110).

PUTTING IN THE DRAW STRING.

There should be two draw strings of ribbon or tape about V^"
wide, each one being cut 6 " longer than twice the width of the bag.
With a bodkin or hair pin, fastened to the end of one of the strings
draw it through the casing around both sides of the bag, bringing the
end through until it meets the other end. Tie the two ends in a bow
knot as shown in the illustration.

Starting the other string through one of the openings in the op-
posite end of the casing, draw it through the casing around both
sides of the bag in the opposite direction from the way the first tape
was drawn, pull it through until both ends are even, just as you did
with the first, then tie the ends in a bowknot.

If desired the raw edges on the ends of the tape may be notched,
cut diagonally, or hemmed with V^" hems (Chap. II, Par. 114).

HAIR RECEIVER

MATERIALS.
Cretonne (Chap. I, Par. 12).

1 piece of cretonne 7"xl4".

1 piece of featherbone 9"
long.

San silk or embroidery cot-
ton to harmonize with the
cretonne.

2 small rings.

1 crewel or embroidery
needle to correspond.

Thread No. 70.

Needle No. 8.

INTRODUCTORY STATEMENT.

Every girl should learn to keep her room as neat, clean and at-
tractive as possible. It may not be Curnished with fine furniture, but
it should be well kept. Nothing adds to the charm of a girl's room
more than to have it properly supplied with little conveniences of her
own make.

A very useful accessory to a girl's dresser or dressing table is a
hair receiver, as there is nothing more unsightly than a comb filled
with hair or bunches of hair lying about.

The hair receiver aJTords an opportunity for a girl to show her
skill and good taste; many designs have been worked out some of
which are suggested on the next page. Whatever design is used
should be neatly made and rather decorative in appearance.

The hair receiver presented in this lesson is very simple and will
not be at all difTicult. It is provided with a cord so that it may be
hung near the dresser or on one of the supports that holds the mirror.

References:

Embroideries and Their Stitclies. Buttericlc Publishing Co., X. Y.
Embroidery, W. G. Tnwnsend. Trustnii, London.

SUGGESTIONS FOR OPTIONAL MODIFICATION.

HANDKERCHIEF HAIR RECEIVER.
No. 1. This hair receiver is made from a bordered handkerchief.
An embroidery hoop is placed under the points of the four corners,
the body of the handkerchief is pushed down inside to form a bag;
it is gathered around the hoop.

CORNUCOPIA HAIR RECEIVER.
No. 2. This hair receiver is made from white Indian head or
linen, hemmed around the edges, embroidered, starched in cold
starch, ironed, fastened together at the top and bottom and hung
with loops of ribbon.

EMBROIDERED HAIR RECEIVER.

No. 3. This hair receiver is made from white linen, scalloped and
embroidered with the satin stitch. It is held together ^^ith ribbon
laced through eyelets, and held open at the top with featherbone. The
baby ribbon provides a hanger and part of the decoration.

LAWN HAIR RECEIVER.

No. 4. This hair receiver is made from white lawn with tlaps
similar in shape to the bottom of the bag. The top is held open with
featherbone. The bag is suspended with baby ribbon finished at the
ends with rosettes.

WORKING DIRECTIONS FOR HAIR RECEIVER

PREPARING MATERIAL.

Straighten the short edges of the material (Chap. II, Par. 102).
TTie curves at the bottom of the hair receiver may be drawn free-
hand on the material, which should be folded crosswise, but it would
possibly be safer to draw a pattern on paper and use that as a guide
in cutting out the hair receiver.

TO MAKE THE PATTERN.

Cut a piece of paper about 6" square; fold two edges together
evenl3^ This makes the folded paper half the width of the receiver.
As the top of the receiver is to be straight, do not change the top edge
of the pattern, but at the bottom from the folded edge cut oil" the
outside open corners in a graceful curve as shown in the illustration
on the front page.

TO CUT OUT THE HAIR RECEIVER.

Open the pattern and lay it on the double thickness of the goods
with the wrong side out; make the top exactly even with the straight-
ened edges of the material. To keep the pattern from slipping, pin
it to the goods at each corner of the top and at the bottom, then care-
fully cut out the hair receiver; cut through both thicknesses of
material. Remove the pattern.

TO MAKE THE SEAMS.

The curved edges of the two pieces that are to form the hair
receiver are to be joined with an overcast seam. To make the seam,
first pin the material together (wrong side out) in two or three
places to keep it from slipping, then follow directions for an overcast
seam (Chap. II, Par. 140), sewing the seam with the backstitch (Chap.
II, Par. 107), or combination stitch (Chap. II, Par. 108). Trim off the
ravelings and overcast the seams neatly (Chap. II, Par. 113).

TO FINISH THE TOP. .

As the cloth is to be gathered slightly on featherbone Vs" vnde
which is run through a hem in the top of the hair receiver, make the
hem Vi" wide, with a narrow first turning turned toward the wrong
side; baste (Chap. II, Par. 103), and hem it in place (Chap. II, Par.
114). As the featherbone is inserted after the hem is made, it will
be necessary to leave a space of about ^2" unsewed in the edge of the

hem, preferably near one of the seams. After the hem is completed,
turn the hair receiver right side out.

Single featherstitching (Chap. II, Par. 121) may be used to finish
the hem on the right side if desired. If it is used, omit the hemming
stitches.

TO FINISH CURVED EDGE.

Single featherstitching (Chap. II, Par. 121) is used around the
curved edge of the hair receiver. Special care will be required to
make the featherstitching perfectly even on the curved edge.

TO PUT IN THE FEATHERBONE.

As featherbone is rough at the cut end, it is very difficult to run
this through a hem without having it covered with a small piece of
cotton cloth. To do this, take a strip of the cretonne V2" wide and 1"
long, double it over the end of the featherbone and fold it around
it; sew in place with the overcasting stitch (Chap. II, Par. 113),
sewing through the featherbone with each stitch. After the end of
the featherbone is covered push it through the casing, or hem, at the
top of the receiver. Gather the material in the hair receiver slightly
on the featherbone, as shown in the illustration. Fasten the two ends
of the featherbone by overlapping them about Y2", then sewing
through and through them until they are securely fastened together.
Wrap the thread around the joint several times to keep it from making
a bulge in the hem; fasten the thread securely. (Cut off any extra
featherbone). The opening may be hemmed down.

TO PUT ON THE HANGER.

Sew an ivory ring on the top end of each seam. The bag may be
suspended with white cord or ribbon the ends of which are simply
tied at each end in a bowknot.

HOLDER

MATERIALS.

Chambray (Chap. I, Par. 9)
or

Gingham (Chap. I, Par. 19).

Outing Flannel (Chap. I,
Par. 30).

1 piece chambray or ging-
ham 10"x27".

1 piece outing flannel 9"xl4".

1 yard % " cotton tape.

Thread No. 70.

Needle No. 8.

INTRODUCTORY STATEMENT.

In lifting hot utensils it is very desirable to have a holder. As
the purpose of the holder is to protect the hands from the heat, it
should be made thick enough to keep the heat from penetrating it
quickly. P'or this reason it is always interlined or made of several
thicknesses of material. It is often quilted with parallel rows of
machine stitching to keep the layers of material from slipping.

The interlining is sometimes made separate from the cover and
removed when the cover is washed. Odd pieces of percale, gingham
or similar material left over in making dresses may be used in
making holders.

The holder in this lesson is made with an interlining and has a
tape with which to suspend it from the apron band.

References:

The Making of Thread, The Great Industries of the L'nited States.
Handicraft for Girls, MeGlaiiflin. Manual Arts Press.

SUGGESTIONS FOR OPTIONAL MODIFICATION.

SQUARE HOLDER.

No. 1. This holder is made by covering Iwo thicknesses of out-
ing flannel with denim or percale. A tape or ring with which to hang
it on a hook is sewed in one corner.

ENVELOPE-SHAPED HOLDER.

No. 2. This holder is made by making an envelope of percale
or denim 9" square. It has a double thickness of outing flannel to
pad the inside. The flap is held shut by a button or snap.

ROUND HOLDER.

No. 3. This holder is made by basting two thicknesses of outing
flannel between two covers of percale or denim, then finishing the
edges with mercerized dress braid which is stitched on with the
sewing machine, or hemmed on by hand.

"CHICKEN" IRON HOLDER.

No. 4. I'^or this holder two chicken-shaped pieces are made of
percale and stuflcd wilh cotton batting to give them a rounded appear-
ance. They are overhanded together along their backs so as to sit
like a saddle on the iron handle.

59
WORKING DIRECTIONS FOR HOLDER

PREPARING MATERIAL FOR COVER.

Straighten one short edge of the material (Chap. II, Par. 102).
(If the edge is selvage, trim it of!" to prevent puckering when laun-
dered). Straighten an adjoining edge of the material in the same
manner. Measure out on the short edge 81/2" the width of the holder.
Draw a thread lengthwise and cut on the line. Measure down on the
long edge 27", twice the length of the holder, plus the width of the
hems. Draw- a thread crosswise and cut on the line.

MAKING THE OUTSIDE.

As you will notice in the illustration for this lesson, a pocket
is formed on each end by folding the ends of the material to the
center. Before folding the pockets, the hems should be made on the
ends of the material. Fold a %" hem with a ^A" first turning on
one end of the material, baste with even basting (Chap. II, Par. 108),
keeping it even with the thread; sew in place with the hemming
stitch (Chap. II, Par. 114). If desired, you may turn the hem away
from you and with the right side of the material toward you, finish
the edge of the hem on the right side with catch stitching (Chap. II,
Par, 120), featherstitching (Chap, II, Par. 121) or backstitching (Chap,
II, Par. 107). Make a hem on the opposite end in the same way,
being careful to turn it to the same side of the material.

Find the center by folding the two ends together exactly even;
crease along the fold with the thumb nail. Open the material and
with the hems turned outside, fold the two ends over to this center
crease (be sure to have the raw edges even).

Baste the raw edges together with uneven basting (Chap. II, Par.
104); sew them together with the combination stitch (Chap. II, Par.
108). Overcast (Chap. II, Par. 113) the raw edges, remove the basting
and turn right side out.

TO PREPARE THE INSIDE.

The outing flannel padding should be made the required size to lit
inside of the cover. To do this, straighten one of the shorter edges
(Chap. II, Par. 102). Straighten an adjoining edge in the same man-
ner. Measure out on the shorter edge 8" (the width of the inside of
the holder). Draw a thread crosswise and cut on the line. Measure
down on the long edge 12^ j" (the length of the inside of the holder).
Draw a thread lengthwise and cut on the line.

As the padding is made separate from the outside of the holder,
the edges of the outing flannel should be finished in some way to keep
them from raveling. This may be done with overcasting (Chap. II,
Par. 113), or blanket stitching (Chap. II, Par. 128); or two thicknesses
of material may be used, turning in the edges and overhanding them
together (Chap. II, Par. 109).

TO SEW ON THE TAPE.

If the holder is to be hung on an apron band the tape should be
long enough to let it come to the bottom of the apron, from 27 " to
36". To sew on the tape, first turn in the raw edge at one end and
place it at the center of the back of the holder near the edge where
the ends of the pockets join as shown in illustration. Turn under
the raw edge and place it so it overlaps the holder about ^12". Hem
the tape on the holder down one edge, across the bottom, and up the
other edge, being careful that the stitches do not run through to the
pockets.

The other end of the tape which is to be suspended from the
apron band, is finished with a loop. To make this, fold the raw edge
over 2" onto the tape. Turn it in and hem it in place. Overhand the
double fold together about V^" up from the hemming stitches and
backstitch (Chap. II, Par. 107) across it; then overhand down to the
hemming stitches (Chap. II, Par. 109).

CHILD'S BIB

MATERIALS.

Huckaback (Chap. I, Par.
20 or 47).

1 piece of huckaback 12"xl4".

Embroidery iloss (color de-
sired) crewel or embroid-
ery needle to correspond.

2 buttons.
Thread No. 50.
Needle No. {^.

INTRODUCTORY STATEMENT.

A bib is very necessary to protect the dress of a child when eating.

The material used in making the bib should be washable and
heavy enough to prevent moisture from penetrating quickly. Turkish
toweling, huckaback, linen, or any smooth finished, firm, wash ma-
terial will be satisfactory.

Frequently a design that will attract a child's attention is selected
to ornament the bib. A bib is very practical because it can be re-
moved and washed much more easily than a dress. It is usually
fastened around the neck with ties made of white tape or of wash-
able ribbon. Buttons and buttonholes are often used.

Where buttons and buttonholes are used as in this lesson, the
bib must be fitted more carefully to the neck than would be required
if lies were used.

References :

Home and School Sewing, Frances Pafton. Xewson Co., N. Y.
Flax, I'. S. Farmers' Bulletin No. 669.

G2
SUGGESTIONS FOR OPTIONAL MODIFICATION.

CHILD'S BIB.
No. 1. This bib is made of Turkish toweling. The hem is
basted toward the wTong side and single ieatherstitched in place with
rather coarse, mercerized embroidery cotton. The design is drawn
on the cloth freehand and worked in outline etching stitch.

CHILD'S BIB.
No. 2. This bib was purchased with the figures stamped. The
edge was finished with a plain hem on the wrong side and the figures
outlined with the etching stitch.

CHILD'S KIMONO BIB.
No. 3. This bib is cut from a child's kimono apron pattern, it
is about 5" long in the back and 16" long in front. It is finished with
a plain hem around the edge; the sleeves are tied together with ribbon.

CHILD'S BIB.
No. 4. This bib is made from huckaback. Any bib pattern may
be used and a freehand design may be transferred onto the bib with
carbon paper. The edge is finished with a narrow hem and rick-
rack braid.

WORKING DIRECTIONS FOR CHILD'S BIB
PREPARING MATERIAL.

A coniniercial pattern may be used lor this bib, or a freehand
pattern may be made as follows:

TO DRAFT THE PATTERN.

Use a rectangular piece of wrapping paper 10" wide and 13"
long. Fold the paper lengthwise in the center.

( 1) From the top corner of the fold measure down 6" (the depth
of the neck), place a dot and number it 1.

(2) To lay out the width of the back of the bib, measure out
from the top corner of the fold 3%" on the unfolded edge of the
paper, place a dot and number it 2.

(3) To get the proper slant for the opening at the back of the
bib, measure down from the same corner 2" on the fold; number
this 3. Connect 3 and 2 with a straight line.

(4) To locate curve for the back of the neck measure up from
dot 3 on this slanting line P/i". Place a dot and number it 4.

(5) To aid in drawing the curve for the neck, measure down
from dot 3 on the fold 2y2"; place a dot and measure out from the
fold 21/4"; place a dot; number the dot 5. Connect dots 1, 5 and 4
with a continuous curved line.

To Round Corners:

(6) From the upper corner of the unfolded edge of the paper
measure down 3" and place a dot and number it 6. Connect 6 and 2
with an outward curved line.

(7) To round the corners of the bottom of the bib, measure up
2" from the bottom corner of the unfolded edge of the paper and
place a dot. From the same corner, measure out 1" on the bottom
edge and place a dot. Connect the two dots with an outward curved
line. Cut on all the lines drawn.

To Design the Scallops:

(8) To make the scallops around the edge of the pattern, keep
it folded and draw a line Vi" from the edge of the pattern all the way
around. Lay a penny, or circular piece of cardboard that size, 6n
the fold at the bottom of the pattern and draw a line around the
lower edge of the penny, making it touch the bottom of the pattern
and come just to the parallel line above it. Lift the penny and place

it so a line drawn around the lower edge will touch the bottom of
the pattern and cross the parallel line in two places, one end touching
the end of the first scallop. Draw the curved line. Repeat all the
way around on the outside edge of the folded pattern as shown in
the illustration. Adjust the last notches to make them neat and even.
Use a half dollar or a piece of cardboard that size and lay out the
top curve of each scallop. Cut out the pattern around the bottom
"Age of the scallops.

TO CUT OUT THE BIB.

Fold the material lengthwise in the center, lay the center fold
of the pattern on the fold of the material. Pin in two or three places
to keep the pattern from slipping. Cut around the neck and mark
around the scallops, but do not cut them out until after they are
embroidered and the bib is laundered.

TO FINISH THE NECK.

The neck is bound with bias tape. Use %" commercial bias tape,
Avhich is already folded, or cut bias strips (Chap. II, Par. 143) making
them %" wide. Turning the seam towards the wrong side, baste
one edge around the curve in the neck with even basting (Chap. 11,
Par. 103), then sew it on with the combination stitch (Chap. II, Par.
108). Turn the facing or binding, back toward the wrong side and
turn under the raw edge, making the facing even. Basle carefully
in place, then hem in place.

Fold, baste and sew in place with running stitches a hem one-half
inch wide on each edge of the opening at the back of the bib.

Cut and work two buttonholes (Chap. II, Par. 136) crosswise of
the hem in the right hand edge of the opening and sew^ on the buttons
to correspond (Chap. II, Par. 185).

WORKING THE SCALLOPS AND THE DESIGN.

Work the scallops with blanket stitch (Chap. II, Par. 128), plac-
ing the stitches close together. If the edge of the material is not cut
away until after the bib is laundered the edge will not fray.

Lay out and work the design with the outline etching stitch
(Chap. II, Par. 125), using the same kind of thread used in making
the scallops.

65
REVIEW QUESTIONS AND PROBLEMS.

1. How would you straighten the edge of a piece of doth?

2. How would you make a line on a piece of cloth in order to
cut it perfectly straight? Why could you not use a ruler and lead
pencil and rule a straight line as you would on a piece of paper?

3. What sort of material is most suitable for the leaves of a
needlebook? Explain why.

4. What is the most common use of the basting stitch? For
what other purpose have you seen it used?

5. For what purpose is the blanket stitch used? Has it any
other use?

6. What is a hem, and why is the exposed edge of a piece of
material usually hemmed?

7. Why do we baste a hem before hemming it down?

8. Explain how to sew on a loop. Name some home projects in
which you would use a loop of tape.

9. Why is a handkerchief case particularly serviceable? Give
at least three reasons why such a case is practicable.

10. How is the running stitch made?

11. Name two or three useful home projects in which the run-
ning stitch would be used. Explain.

12. How is overhanding done? In what projects have j'ou used
this process?

13. What are some of the most important things to think about
in designing a sewing apron?

14. What is the purpose of cross-stitching? Name three or four
home projects upon which this stitch could appropriately be used.

15. How many ways have you learned for working an initial?
Which do you like best? Explain why.

16. What is the purpose of a draw string? What preparation
is necessary where a draw string is to be used?

17. Name three or four home projects in which a draw string
is used.

18. What is an outline etching stitch? How is it made?

19. Name all the stitches which you have used thus far for
decoration.

20. What things have you learned from this section that you
can use on your own clothing?

66
SUGGESTIONS FOR HOME APPLICATION.

1. When needles are removed from the paper at home, notice
where your mother keeps them. Perhaps they are kept in a pin
cushion. Make a pin cushion out of some art canvas or other loosely
w^oven material using stitches to decorate the top, similar to those
used on the bookmark, or napkin ring shown in this section.

2. Observe the hand towels at home. How are they made?
Why are most of them longer than the towel given in lesson two?
What advantages can you see in hemming kitchen towels on the
sewing machine? Talk to your mother about this. Ask her to let
you make the next towels that are needed at home.

3. Notice the hems on the sheets at home. Why is it more prac-
tical to stitch these hems on the sewing machine than to hem them
by hand? Ask your mother why the top hem is usually made wider
than the bottom hem. Why are there no hems on the sides of sheets?
If the hem is handmade what kind of stitches do you usually find
used? Perhaps you can find a sheet with a seam in the center,
although sheets made in this way are uncommon now-a-days. See
whether you can find out why. Ask permission to make or to assist
in making the next sheets needed at home.

4. Can you explain why some pillow cases have seams down the
side and some have not? If you can find one with the seam, observe
it carefully. How is the bottom of a pillow case finished? Visit a
dry goods store if possible and find out the price of pillow tubing and
of unbleached and bleached muslin which is sold for making pillow
cases. Inquire as to why unbleached muslin wears better and is
cheaper than bleached muslin. Which would you prefer to buy, and
why? Make a pair of pillow cases for your room.

See if you can find out the price of ready-made pillow cases with
a plain hem and with a hemstitched hem; then compare with the
price you would have to pay for the same grade of muslin to make
the pillow cases. Judging from these figures, if you made a pair of
pillow cases, how much would you receive for your work?

5. What kind of waterproof material would be especially de-
sirable to use in covering a cookbook? Heavy paper is sometimes
used to cover school books. Get a good quality of tough paper and
cover some of your books at home.

6. How are extra buttons usually cared for? Do you always
remove and save the buttons before throwing a worn out garment

into the rag bag? Perhaps you know of someone who would ap-
preciate a nice button bag for a Christmas gift. Design and make
one at home for this purpose.

7. A bag for soiled handkerchiefs or dust cloths can be made
on the same principle as the hair receiver; it should be larger. Make
cne for your room using, your own ideas as to proper size and dec-
oration. If possible use a piece of material which you have at home
so as to avoid expense.

8. If you made the child's bib given in this section you have
had some practice embroidering a scalloped edge. Name some dif-
ferent articles that you could make that would be very pretty finished
■wi'Lh a scalloped edge. Then make some article with a scalloped
edge. Possibly, if it is well done, your teacher would be glad to
have you save it for an exhibit day.

9. If you have made buttonholes in school it would be an ex-
cellent idea to make more at home, as it takes considerable practice
to become skillful. Try to make a buttonhole so well that your
mother will be glad to let you work the buttonholes in some garment
that she may be making.

INTRODUCTION TO SECTION II

BV the time the students have completed Section I, they should
be pretty familiar with the most common forms of simple

stitches, but skill and judgment in the application of eyen the
most elementary processes come only with long practice. It is there-
fore advised that students be not allowed to pass too quickly from
the elementary projects.

This section sets forth projects which call for a little more ability
in actual sewing work; it also offers opportunity for wider exercises
of individual taste. Students should be encouraged to study the
suggestions for optional modification very carefully before under-
taking any project. They should be expected to incorporate as many
original ideas as possible in their work.

The home work recommended at the close of this section deals
with just such problems as are continually arising in every home
and the students should be expected to carry out this part of their
instruction. Some of the undertakings recommended should be
brought to school and done at the regular sewing period. However,
if this is not desirable some plan might be devised whereby each girl
could report on the work done at home and receive recognition or
credit of some sort for such work.

Frequent references should be made to the supplement through-
out the lessons of this section, for it is very important that early
habits and practices be properly formed. The mechanical operations
involved in the various details should gradually become less difficult,
thus giving the students an opportunity to concentrate their attention
in securing excellent results in their work as a whole.

FILING POCKET

MATERIALS.

Brown gingham (Chap. I,
Par. 19) or

Brown Chambray (Chap. I,
Par. 9) or

Linen crash (Chap. I, Par.
44).

Cretonne (Chap. I, Par. 12).

1 piece linen, gingham or
chambray, 12" wide x 28"
long.

1 piece cretonne 3" wide x
12" long.

1 piece cardboard 9y2 "xliy2".

2 brass rings about %" in
diameter.

Thread No. 70.
Needle No. 8.

INTRODUCTORY STATEMENT.

As a successful business man has a systematic method of filing
letters and keeping valuable papers in a definite place in order to
increase the efficiency of his office work, so the home keeper will
find that her work may be lightened by having definite places in which
to keep the many little things which are so easily mislaid. A filing
pocket provides one means of caring for different articles, for instance
bulletins in the kitchen, patterns in the sewing room, or unanswered
letters near the writing table.

The material used in a filing pocket will depend somewhat on
the use to which it is to be put. If it is to contain heavy bulletins,
it should be made of strong material, like denim, or heavy cretonne.
If it is to hold light papers it may be made of percale, chambray,
gingham or light weight cretonne.

References :

The Cotton Plant, U. S. Bulletin 601.
Cotton Improvement, U. S. Bulletin 501.

SUGGESTIONS FOR OPTIONAL MODIFICATION.

FILING POCKET.

No. 1. This is a large filing pocket made of strong cloth; the
edges are bound, a stick run through the wide hem holds the top
straight. It is very serviceable for sewing patterns.

BULLETIN FILE.

No. 2. This file is very similar to No. L It will be found con-
venient in caring for club bulletins or other small pamphlets.

WALL POCKET.

No. 3. This project shows a modification in which the pockets
are enlarged considerably so as to serve many purposes.

SLIPPER CASE.

No. 4. The large loose pockets held with elastic at the top pro-
vide a convenient slipper case.

WORKING DIRECTIONS FOR FILING POCKET
PREPARING MATERIAL.

If necessary, straighten two adjoining edges of the material by
drawing a thread and cutting on the line (Chap. II, Par. 102). If there
is a selvage, trim it ofT. On the short edge measure out 12" or the
width of the filing pocket before making. Tear the material length-
wise, or draw a thread and cut on the line. On the longer edge of the
material measure down 28", twice the length of the back and pocket.
Tear crosswise, or draw a thread and cut on the line. If you tear
the material, pull the cloth straight (Chap, II, Par. 101) and trim ofl'
the ravelings.

PREPARING FOR THE POCKET.

This filing pocket is made of a double thickness of cloth. With
the right side in, fold one short edge even with the opposite one,
making the fold at the bottom. Crease this with the thumb nail.
Baste the two long edges together with short uneven basting (Chap.
II, Par. 104). About V^" from the edge stitch just inside of the bast-
ings with the sewing machine (Chap. II, Par. 164), or sew with the
combination stitch (Chap. II, Par. 108). Turn the material right side
out, being careful to push the corners out with the point of the shears
and to make the edges perfectly straight (if you have stitched the
seams carefully you should be able to crease these outside edges even
with a thread). The upper edges, which are now open are to be
overhanded together (Chap. II, Par. 110) after the cardboard is put in.
The raw edges must be turned in before overhanding, so you may turn
them in one-fourth of an inch, even with a thread, and baste them in
place with uneven basting.

TO MAKE THE POCKET.

The edge of this pocket as shown in the illustration is trimmed
with a band of cretonne. This should be sewed on before the pocket
is turned up. Straighten the edges of the cretonne (Chap. II, Par.
102), making it 2ii>"xll^2", or the exact width of the finished filing
case, plus ^2". Turn the raw edges even with a thread one-fourth of
an inch toward the wrong side all the way around and baste them
with unevin basting (Chap. II, Par. 104). Care shou'd be taken to
keep this piece a perfect rectangle. Baste it carefully on all four
edges to the folded end of the filing pocket. The ends will be stitched
when the pocket is sewed in place. Stitch the top and bottom edges
in place with very even machine stitching, or finish them by hand

■with catch stitching (Chap. II, Par. 120) or featherstitching (Chap. II,
Par. 121, 122, 123). Fold up this end of the filing pocket onto the
material the depth desired for the pocket, or about four and one-half
inches (with the strip of cretonne turned out). Baste the doubled
edges together with uneven basting, overhand (Chap. II, Par. 110) the
edges together, sewing through the cretonne, or stitch on the machine.

PREPARING AND PUTTING IN THE CARDBOARD.

A piece of cardboard should be cut to fit the inside of the back
of the filing pocket. This should be QVa'xlP^", but will probably
vary somewhat in size, as a very slight variation in the width of the
seams or the depth of the pocket will make a change in the size of
the back of the filing pocket. Measure the back carefully and cut
the cardboard to fit it. Slip the cardboard between the two thick-
nesses that form the back of the filing pocket and overhand the open
edges together.

SEWING ON THE RINGS.

To sew on each ring, knot the thread and insert the needle about
one-half inch from the top edge of the filing pocket bringing it up on
the edge about one-half inch from the corner. Holding a portion of
the ring next to the edge where the needle came out, sew over and
over it six or eight times. Fasten the thread by running the needle
through the two thicknesses of cloth about one-half inch.

SLEEVELETS

MATERIALS.

White Cotton Cambric (Chap.
I, Par. 6).

Long Cloth (Chap. I, Par. 24).

1 piece white goods % yard
long and 27" wide.

Thread No. 70.

Needle No. 8.

1 yard narrow white elastic.

INTRODUCTORY STATEMENT.

Every girl knows how difficult it is to keep the bottom of long
sleeves clean when at work. Sleevelets made of paper and pinned to
fit the arm will offer some protection. As they are only temporary
and tear easily, they are not very satisfactory.

Sleevelets made of cloth are much more practical. As they usu-
ally require frequent laundering, they should be made of wash ma-
terials, the color depending somewhat on the use for which they are
intended. Black sateen is often used for sleevelets to be worn in an
office or store while white cambric or dainty colored gingham, per-
cale or chambray is generally used for sleevelets to be worn in the
kitchen, or at work about the house.

While sleevelets may be finished at the bottom in several ways,
one of the simplest methods is to gather in the extra fullness with an
elastic. The sleevelets shown in this lesson have an elastic band at
the top and bottom, making them adjustable to any sized arm. These
sleevelets may be used as part of a cooking uniform for school.

References :

A Profitable Cotton Farm, U. S. Bulletin 364.
The Cotton Plantation, U. S. Bulletin 326.

74
SUGGESTIONS FOR OPTIONAL MODIFICATION.

^^^r X

^^^r ''^^1

^^r

F / mm

^B^^^^^^^^l

^^^L

B^^^^^^^^B 1' ii ii|i' ^B

BUTTONED SLEEVELETS

No. 1. Sleevelets are sometimes provided with a button and
buttonhole instead of elastic at the bottom; the elastic is frequently
used at the top of such sleevelets.

HEMSTITCHED CUFFS.

No. 2. Where pretty dainty sleevelets are desired they may be
made short and hemstitched. When neatly laundered they are very
attractive.

PLAIN CUFFS.

No. 3. Sleevelets are sometimes made perfectly plain; they may
then be starched stiff and fastened in place with a pin.

PLAIN SLEEVELETS.

No. 4. Sleevelets may be made perfectly plain, starched like the
culTs and held in place with a pin.

WORKNG DIRECTIONS FOR SLEEVELETS

PREPARING MATERIAL.

Straighten two adjoining edges of material (Chap. II, Par. 102)
if necessary. Trim off any selvages. Measure out on the shorter
edge 12" (the length of the sleevelets before making). Tear crosswise,
or draw a thread and cut on the line (Chap. II, Par. 102). Measure
out on the long edge ISl-j" (the width of one sleevelet before it is
made) and tear lengthwise or draw a thread and cut on the line.
The piece of material left should be 12"xl3", the size of the other
sleevelet. Trim off the ravelings on the edges if you have torn the
material. Cut out the second sleevelet in the same manner.

MAKING THE SEAM ON THE SLEEVELET.

One sleevelet may be made and when it is completed the other
may be made exactly like it, or the sleevelets may be made together
by repeating each process on the second sleevelet after you have
finished it on the first. In these directions you are to complete one
sleevelet before making the second one. The sleevelet should be made
a little narrower at the bottom than at the top. To do this, fold the
material lengthwise in the center. On one end which is to be the
bottom of the sleevelet, measure in from the raw edge one inch and
mark with a pin. From the upper corner at the top of the same edge,
fold the cloth diagonally to the pin. Cut on this diagonal fold, mak-
ing a slanting edge from the bottom to the top of the sleevelets. Baste
the slanting edges together using the uneven basting stitch (Chap. II,
Par. 104); finish them with a French seam (Chap. II, Par. 137). The
bottom of the sleevelet is to be finished with a hem provided with a
casing through which to draw the elastic that gathers it at the wrist.

To make this hem, make a first turning about Vi" toward the
v.rong side of the sleevelet then make a second turning about P/4"
tov.ard the same side; baste with even basting stitches (Chap. II, Par.
103) and sew^ in place, with machine stitching (Chap. II, Par. 164),
or hem neatly by hand, leaving about i/4" unsew-ed through which to
insert the elastic. To form the casing for the elastic measure down
about %" below the sewed edge of the hem and make a row of
machine stitching or running stitches (Chap. II, Par. 106) parallel
with the edge of the hem. Remove the bastings.

THE HEM AT THE TOP OF THE SLEEVELET.

The hem at the top of the sleevelet shown in the illustration
serves as a casing through which to run the elastic. Make this hem
about %" wide with Vi" first turning; baste with even basting (Chap.
II, Par. 103) and sew in place with the hemming stitch (Chap. II, Par.
114) or stitch with the sewing machine (Chap. II, Par. 164) leaving
about 1/4" unsewed (at the seam) in which to insert the elastic.

PUTTING IN THE ELASTIC.

As the fullness at the bottom of the sleevelet is to be gathered on
an elastic band, cut a piece of elastic one-half inch longer than the
wrist measure. With a bodkin, or hair pin, draw the elastic through
the casing, letting the two ends extend outside the opening. Overlap
the ends and sew them together firmly; slip them inside of the casing
in the hem and sew up the opening left in the hem. If you have sewed
the hem by hand this small opening may be sewed with the hemming
stitch; if you have stitched it on the sewing machine sew it on the
right side with backstitches (Chap. II, Par. 107).

As the fullness at the top of the sleevelet is also gathered on an
elastic band, cut a second piece of elastic one-half inch longer thar.
the measurement of the arm just below the elbow. Draw it through
the casing and fasten it just as you did at the bottom of the sleevelet.
Finish the hem in the same manner.

Make the second sleevelet in the same manner that you did
the first.

^^^^^^'

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CAP

MATERIALS.

Lawn (Chap. I, Par. 23) or
Cotton Cambric (Chap. I,

Par. 6) or
Long Cloth (Chap. I, Par. 24).

1 piece of white wash goods
about 21" square.

1 yard of lace.

% yard of elastic Vs" wide.

Thread No. 70.

Needle No. 8.

Commercial pattern, or a
piece of Manilla wrapping
paper about 22 " square.

INTRODUCTORY STATEMENT.

In order to keep the hair in a healthy condition, it is necessary
to keep Hie scalp clean. It is, therefore, very desirable to protect
the head when working in the dust. This has made the so-called dust
caps very popular.

While silks, laces, and dainty, sheer materials are used in caps
which are worn simply for ornament, the service to which a dust cap
is to be subjected requires that it be made of material firm enough
to keep out the dust. However, this does not prevent the use of dainty
colors such as pale pink and blue ginghams, percales or similar
materials. The white cap is usually becoming and looks very at-
tractive in the kitchen.

Although these caps are frequently made with a brim which
calls for two pieces of material, the cap in this lesson is made of one
piece only. This cap may be worn as part of a cooking uniform
for school.

References :

Cotton Spinning. Marsdcn-Macmillan Co.
Grading of Cotton, U. S. Bulletin 591.

78
SUGGESTIONS FOR OPTIONAL MODIFICATION.

CAP WITH BRIM.

No. 1. This cap has a turned l>ack hrim which may be piped,
Irinimed witli braid or rickrack.

LACE TRIMMED CAP.

No. 2. Narrow hice may be used eflectively in trimming a cap
which is intended to l)e rattier dainty.

EMBROIDERED CAP.

No. 3. The turned up brim presents an opportunity to use vari-
ous decorative stitches, botli on its surface and edges.

LACE CAP.

No. 4. Tlie combination of lace and silk ofTers unlimited oppor-
tunities in designing attractive elTects in dainty caps.

WORKING DIRECTIONS FOR CAP

PREPARING MATERIAL.

This cap is made from a circular piece of cloth about 21" in
diameter. To make a pattern for the cap, draw a circle that size on
a piece of manilla wrapping paper (use a pencil and a string); fold
it on one of its diameters and cut it in halves. Use one-half of the
pattern to lay out the cap.

PREPARING THE CIRCULAR PIECE.

Fold the material in the center and pin the straight edges of the
pattern on the fold, also pin it in two or three places around the
curve. Cut carefully around the curve, remove the pattern and open
the circular piece of cloth. This circle of cloth is to be finished with a
hem, preferably a rolled hem, although it is more difficult to make
than the flat hem. Make a rolled hem (Chap. II, Par. 118) around
the edge and sew in place as you roll it, or a narrow. Hat hem (Chap.
II, Par. 114).

Lay the right side of the lace on the right side of the circular piece
of cloth and overhand the lace on the edge of the hem (Chap. II,
Par. 112). To keep the lace from drawing around the outside edge,
full it on slightly as you sew. Join the edges of the lace (Chap. II,
Par. 148).

PUTTING IN THE CASING FOR THE ELASTIC.

This casing may be made by using the commercial bias tape,
about %" wide, or bias strips may be cut (%" wide) according to
directions in Chap. II, Par. 143. If two or more strips are necessary,
join them (Chap. II, Par. 144), then turn under the raw edges, making
a strip about %" wide when completed. The turned edges may be
pressed with an iron, creased firmly, or basted to keep them folded.
To allow the edge of the cap to extend beyond the casing, baste the
outside edge of the tape about IVi" inside the edge of the hem. Be
careful to keep the spacing even all the way around, also stretch the
edge slightly to make the tape lie smoothly when the inner edge is
basted in place. A small piece of cardboard cut about one-half inch
wide and li/4" long will serve as an excellent guide in keeping the
tape even with the edge of the cap.

When you have basted the outer edge of the tape all the way
around the circle, join the ends; baste the inner edge in place, keep-
ing the tape smooth. Sew both edges of the tape in place with hem-

ining stitches (Chap. II, Par. 114), or stitch them on the sewing ma-
chine (Chap. II, Par. 164), leaving a space of about }■>" unsewed on
the inner edge through which to insert the elastic. Measure around
your head and cut the elastic for your cap about two inches longer.
With a bodkin, or hairpin, run the elastic through the casing, allow-
ing both ends to extend outside the half-inch opening. Before fas-
tening the ends tie them loosely; place the cap on the head; adjust
it until it fits nicely, then cut the elastic to the proper size; lap the
two pieces about ^A" and sew them together firmly. Slip the joined
ends inside the casing.

As the elastic is usually removed when the cap is washed, it is
ad^'isable to leave the opening in the edge of the casing unsewed.
You may prefer to tie the elastic in a neat knot close to the opening
in the casing, as it may then be removed simply by untying the knot.
Adjust the gathers evenly on the elastic.

SILVER CASE

MATERIALS.
Outing flannel (Chap.

I, Par. 30) or
Felt (Chap. I, Par.

58) or
Canton Flannel

(Chap. 1, Par. 7).

V2 yard flannel or

felt.
% yard of tape to

match material.
Cotton or silk thread

to match.
Needle to correspond

with the thread.
Embroidery cotton.
Embroidery needle

to correspond.

INTRODUCTORY STATEMENT.

There is nothing which adds to the attractiveness of the table
more than well kept silverware. Silver rapidly loses its polish if it
becomes scratched. Even a thorough cleaning with silver polish will
not restore the characteristic luster of new silver after it becomes
marred or scratched. One piece of silver rubbing on another scratches
it and thus both pieces are damaged. Knives, forks, spoons and
other small silver may be kept looking bright and new much longer
if each piece is kept separate from the others. For this reason, a
case made with a little pocket for each piece of silver will be found
very desirable.

The silver should be thoroughly dried before placing it in the
case. The case should be made of soft material, like flannel, outing
flannel, or felt. Very satisfactory cases can be purchased, but they
can also be very easily made, at much less cost. Where linen is used
for the outside and embroidered, it should be lined with outing flannel,
or some soft material.

References ;

Wool and Manufacture of Wool, W. C. Ford.

A Story of Table Furnishings, The Cornell Reading-Courses.

SUGGESTIONS FOR OPTIONAL MODIFICATION.

KNIFE CASE.

No. 1. This knife case contains separate pockets very similar
to the one presented in the lesson. It folds over and over and

fastens with a snap.

FORK CASE.

No. 2. The fork case shown in No. 2 presents a design which
may be made very pretty. The use of the embroidery and ribbon
adds much to make it attractive.

TEASPOON CASE.

No. 3. This spoon case is made to match the knife case shown

in No. 1. This will suggest the idea of a complete set of silverware

cases to match.

ROLLED SPOON CASE.

No. 4. This case is made of a soft flannel material so it can be
rolled and tied with a tape or ribbon. The embroidered initial adds
to its appearance.

WORKING DIRECTIONS FOR SILVER CASE

PREPARING MATERIAL.

Straighten two adjoining edges of the cloth (Chap. II, Par. 102).
To prepare the larger piece, measure out on the short edge 13", (the
width of this piece) draw a thread crosswise and cut on the line.
Measure out on the long edge 20" (the length of this piece). Draw
a thread lengthwise and cut on the line. The narrow strip remaining
is to be used for the pocket. Straighten the edges where necessary
and make it 5" wide by 15" long.

THE BACK PIECE.

As you will notice in the illustration, the back is not a perfect
oblong, but is rounded at the top corners and shaped off at one
end to form a lap which is to be wTapped around the rest of the
case after the silver has been rolled up in it.

TO SHAPE THE END.

First lay the long edges of the material parallel with the front
edge of a table or desk before you. Fold the upper edge of the
material over toward the lower edge, 5 inches. Leaving it folded,
measure from the lower right-hand corner of the folded material l^Vz"
toward the left; mark this point with a pin. From here cut a straight
line to within 1 inch of the folded edge at right angles to it. Curving
to the left, cut on the line of the folded edge to the left end of the
material (this cuts the upper left-hand corner out of the material).
The part which extends at the left forms the flap mentioned above.

To round the corners of the flap, measure out from one corner
2^l' on the adjoining edges; mark these points with pins. Cut the
corner rounding betv.een the pins the same as in the illustration.
Round the opposite corner in like manner.

The top corners of the back piece should also be made slightly
rounding. To do this, measure out from one corner one inch en the
adjoining edges, marking these points with pins; cut the corner
rounding between them. Round the other corner in like manner.

MAKING THE POCKET.

The pockets into which the silver is to be placed are formed by
sewing the smaller piece on the back piece, as shown in the illustra-
tion. Baste it in place with uneven basting (Chap. II, Par. 104).
Sew the pocket to the back piece along the bottom and right end with

blanket stitches (Chap. II, Par. 128), working them very close to-
gether; continue around the remaining raw edges of the silver case.
Finish the raw edges on the top and left end of the pocket in the
same manner.

If desired, the edges may be finished with binding ribbon which
should match the material of the silver case. To put it on, crease
it lengthwise in the center, lay the inside of the crease on the edge
of the silver case and with the edges on the opposite sides, fasten
it in place sewing through both edges at the same time. Stitch close
to the edge of the tape on the right side with the sewing machine
(Chap. II, Par. 164).

MAKING DIVISIONS IN POCKET.

This large pocket is to be divided into twelve small ones, each of
which is to hold one piece of the silverware as shown in the illustra-
tion. To make these pockets, divide it into spaces li/4" wide, mark-
ing each division with a line of basting stitches extending from the
bottom of the pocket to the top. Stitch in place with sewing machine
(Chap. II, Par. 164).

SEWING ON TAPE FOR TIES.

When the silver case is folded, it should have a tape correspond-
ing in color tied around it to keep it folded. To sew on the tape, first
find the center by folding the two ends together; crease on the fold,
lay the center of the tape on the center of the rounded flap, near the
edge. Sew it to the flap with two parallel rows of backstitching
(Chap. II, Par. 107) placed about 1/4" apart.

SCHOOL BAG

MATERIALS.

Linen (Chap. I, Par. 40).
Chambray (Chap. I, Par. 9).

1 piece of chambray or linen

14V2"x36".
Thread No. 70.
Needle No. 8.

1 yard white cotton tape

about 1" wide.
Stencil pattern.
Heavy cardboard.
Oil paints, or dyes suitable

for stenciling.

INTRODUCTORY STATEiMENT.

Did you ever find yourself hurrying to school with an armful
of books, and have one of them begin to slip and the others, one
by one, follow its example until finally all the books lay at your
feet? If you have you will appreciate the advantage of a school bag.

A book bag may be made like a button bag, with a string. How-
ever, a bag made with a wide opening at the top with straps which
can be placed over the shoulder is very much more easily carried.

A school bag should be made of strong material, like denim, or
a firm grade of cambric, chambray or percale. Oilcloth is also very
desirable as it is waterproof.

The design on the book bag should be simple. Stenciling makes
a very attractive decoration for this sort of bag. It would be interest-
ing to design and paint the stencil in the drawing class.

References :

Choosing Textiles, Gibbs. Illinois Univ. Bulletin.

Decoration of the School and Home, Diliaway. Manual Arts Press.

86
SUGGESTIONS FOR OPTIONAL MODIFICATION.

SCHOOL BAG.

No. L This bag is made the same size as the one in the illus-
tration. Instead of the flap at the top, it is finished with an inch
hem. Two draw strings running in opposite directions slip through
rings. It is trimmed with cretonne.

COOKING BAG.
No. 2. This bag is made similar to No. 1, the draw strings being
run through a hem in the top of the bag; it is ornamented with em-
broidery stitches. It may be used to carry cooking uniform back and

forth to school.

CORSET BAG.

No. 3. This bag is made from cretonne. It is QVo" wide by 30"
long. The draw strings are run through the lower half of a hem, the
upper half being allowed to extend in a heading.

PARTY BAG.

No. 4. This bag is made of heavy silk, lined with lighter weight
silk. The draw strings of ribbon are drawn through the lower part
of the hem, leaving the upper part for a heading. It is 15" wide by
18" long.

WORKING DIRECTIONS FOR SCHOOL BAG

PREPARING MATERIAL.

Straighten two adjoining edges of the material (Chap. II, Par..
102). (If the material is 30" wide it may be torn down the center
and two bags can be made out of one width). Measure out on the
short edge 141/2", the width of the bag before making. Measure out
on the long edge 36", one yard (the depth of the bag before making).

TO MAKE THE FLAP.

This bag is to be made of one strip of material, one end being
made pointed to form a flap, the other folded up to form the bag.
To make the flap, find the center of the material by folding the long,
edges together evenly; crease on the fold. Open the material. Fold
one corner over to the central crease; on the same end fold the other
corner over in like manner, thus forming a point on the end of the
material. This pointed end of the material is to form the flap. Cut
away the extra material folded over and finish the raw edges with sl
hem 11/4" wide (Chap. II, Par. 114), mitering the corner at the point
(Chap. II, Par. 146).

FORMING THE BAG.

The opposite end of the material is to be folded up to the be-
ginning of the fiap to form the bag. Before folding it, finish the
raw edge with a hem %" wide \nih a first turning 1/4" wide. Sew it
in place with hemming stitches, or stitch with the sewing machine.
The edges along the sides of the bag are to be finished with French
seams (Chap. II, Par. 137). To do this, fold the hemmed edge up-
( having the right side out) until it overlaps the bottom of the hem
on the flap i/4". Join the edges with French seams about Vs" wide^
Remove all bastings and turn the bag right side out.

TO SEW ON THE TAPE.

This bag is to be suspended from the shoulder \\ith a strip ot"
tape about one inch wide. To sew on the tape, first turn under the
raw edge at each end about i/4", allowing one end to overlap the
back of the bag 1/2" on one upper corner; baste it in place, being,
careful to sew through the back of the bag only. Place the other
end of the tape in the same position on the opposite corner of the
bag, as shown in the illustration, and baste in place. Fasten each
end securely to the bag with hemming stitches (Chap. II, Par. 114),.
sewing around the two edges, across the bottom and along the place
where it crosses the edge of the bag.

THE DESIGN.

This bag is decorated with a stencil design. To make a stencil
design, proceed as follows : Make your own design, or use a com-
mercial pattern. When you have decided on the design, transfer it
to stencil board, bristol board, or very heavy paper. To cut out the
design, place the material on which you have transferred your de-
sign over a piece of glass, and with a sharp knife cut it out in very
clean-cut lines.

To stencil the design onto the bag, open the flap, place a blotter
inside the bag and fasten the design over the bag firmly in the posi-
tion desired. Use a brush with short bristles and artist's oil mixed
with turpentine, or Easy Dye dissolved in water (Your teacher should
help you to select suitable colors for your design). As the paint is
likely to spread under the pattern, remove the excess from the brush
each time before applying it to the stencil by rubbing it over a piece
of waste cloth. Apply the paint with a daubing rather than a brush-
ing motion. There should be only sufficient paint left in the brush
to color the stencil. Oil crayons may be used instead of the paints
or dyes if the design on the bag is pressed with a hot iron to set the
colors.

BROOM COVER

MATERIALS.

Canton Flannel (Chap. I,
Par. 7).

^2 yard canton flannel.

2 yards cotton tape W wide.

Colored embroidery cotton
(if desired).

Embroidery needle to cor-
respond.

White thread No. 60.

Needle No. 7.

INTRODUCTORY STATEMENT.

The day of carpets tacked to the floor is rapidly passing, and
rugs that can be laid loose on the hardwood or painted floors have
almost entirely taken their place. The exposed parts of the floor
must be dusted frequently with a dry mop.

There are many dust mops on the market which are more or
less expensive, many of which are very satisfactory. A simple sub-
stitute for these, however, is the broom cover, which can be placed
over the broom while sweeping or dusting the hardwood floor and
can also be easily removed when it needs to be washed. The covered
broom may be used to sweep the walls or to dust high places. The
cover may be moistened with furniture polish to prevent the dust
from flying when used only on the floor.

Any mop or polishing cloth which has been moistened with oil
should be singled out and hung in a cool place. If left in a wad
there is danger of its taking fire.

References :

Rules for Cleaning, The (".ornell Reading-Courses.

Attic Dust and Treasures, The Cornell Reading-Courses-

SUGGESTIONS FOR OPTIONAL MODIFICATION.

DUST CLOTH.

No. 1. This is a plain simple dust cloth made by sewing togetlier
the tops of discarded stockings; it has the advantage of picking up
the dust rather than scattering it.

BROOM COVER.

No. 2. A broom cover made of a large straight piece of cloth with
rings and a draw string will be found convenient for dusting high
places.

BROOM COVER OF CARPET.

No. 3. An old piece of soft woolen cari)et sewed into a bag and
supplied V. ilh a draw string to fasten it over a broom, is very valuable
in polishing waxed floors.

MOP CLOTH.

No. 4. Several strips of canton llannel. hemmed and stitched
together in Ihe middle will furnish a serviceable mop cloth.

WORKING DIRECTIONS FOR BROOM COVER
PREPARING MATERIAL.
Straighten the two long edges of the material (Chap. II, Par. 102).

MAKING THE BAG.

This broom cover is to be used for hard service and it should
not have a great deal of fine work put on it, but, even though it is
a simple problem, each process should be done as perfectly as pos-
sible. This cover, which is simply a bag, is to be joined by sewing
the two selvage edges in a seam, thus making a seam along one edge
of the bag and a fold on the other. Lay the two selvage edges to-
gether with the smooth surface of the material inside and the upper
and lower edges even. With uneven basting (Chap. II, Par. 104)
baste the two selvage edges together with a ^A" seam, continuing
around the bottom edge. Stitch just inside of the bastings with the
sewing machine (Chap. II, Par. 164), or sew by hand with the back-
stitch (Chap. II, Par. 107). Remove the bastings and if desired,
overcast (Chap. II, Par, 113) the raw edges on the bottom of the bag.
Turn the bag right side out.

PUTTING IN THE HEM.

A hem 1" wide finishes the raw edge at the top. With a quarter
inch first turning, fold, baste with even basting (Chap. II, Par. 103)
and stitch the hem in place on the sewing machine, stitching very
close to the edge, or hem neatly with hemming stitches (Chap. II,
Par. 114), or catch stitch (Chap. II, Par. 120) in place on the right side,

TO PUT IN THE DRAW STRING.

In the center of the hems make an opening about one-halt
inch long in the seam which crosses it. On the opposite side make
a crosswise cut in the center of the hem the same length as the first
one. To keep these openings from raveling, work them around the
edges with the buttonhole stitch (Chap. II, Par. 136). Cut the tape
in two pieces, each one yard long. With a tape needle or hairpin
run one piece of tape through a buttonhole entirely around the hem
of the bag, letting one end remain outside and the other come through
the buttonhole again. Join these two ends with a felled seam (Chap. II,
Par. 138). Run the other tape entirely around the bag in the same
manner, drawing it through the opposite buttonhole. Fasten the two
ends of tape which hang from this buttonhole with the felled seam.
Close the cover by drawing the ends of the tape in opposite directions.

THE DESIGN.

For ordinary purposes, it is unnecessary to do any embroidery
work on a broom cover. A design was worked on the broom cover
in this lesson merely to give a better idea in the picture. If you ex-
pect to exhibit the broom cover which you have made in class, you
will probably wish to work a similar design on yours.

The design may be written on a piece of paper and transferred
to the broom cover with carbon paper by placing the carbon paper
carbon side down on the bag, and pinning the design over it, then
tracing around it with a pencil. It would be advisable to use a strip
of carbon paper a trifle wider than the letters you have made, and
move it as you transfer each line. When a large sheet of carbon
paper is used, the carbon is likely to rub off in places and soil your
work.

Work the design with coarse embroidery cotton in any color
desired with the outline etching stitch (Chap. II, Par 125), or chain
stitch (Chap. II, Par. 126). You may prefer simply to make your
initial in the manner already described, and work it with the outline
etching stitch, chain stitch or satin stitch (Chap. II, Par. 131).

CROCHETED
TURBAN

MATERIALS.

5 skeins of Saxony yarn the
color desired.

1 bone crochet hook to cor-
respond with yarn.

2 large wooden button molds.

2 rubber bands, or short
pieces of heavy string.

INTRODUCTORY STATEMENT.

When the winds of winter begin to whistle around the corners
and through the tree tops, the schoolgirl, as she sallies forth, one
hand holding her hat tightly, the other filled with books, usually
longs for some sort of close fitting head-covering which will
protect her ears from the cold. It is a great satisfaction to the aver-
age girl to be able to crochet a becoming cap for herself. The soft
woolen yarns adapt themselves very nicely to this work and even
though a girl may have had but little experience in crocheting, it is
quite possible for her to crochet a cap.

The cap shown in this lesson, when unbuttoned, is simply a long,
flat strip of crocheting. As it is almost impossible to remove the
ordinary toboggan cap without disarranging the hair, this cap will
prove very much more satisfactory because it can be removed by
unbuttoning the ends.

References:

Woolen and Worsted Yarn Preparation, Cyclo. of Textile Work.
Columbia Book of the Use of Yarns, Wm. H. Horrtman Co., Philadelphia.

94
SUGGESTIONS FOR OPTIONAL MODIFICATION.

TOBOGGAN CAP.

No. 1. This cap is crocheted of yarn. Beginning with a ring of
stitches in the center, each succeeding row is increased until the cap
is the size desired for the head, then it is crocheted straight around
several inches to form the border.

CROCHETED CAP.
No. 2. This cap is made of wool yarn crocheted with any
stitch desired, in a long strip. The strip is folded and joined on the
edges with slip stitches. Crocheted buttons fasten down the corners.

CROCHETED BREAKFAST CAP.
No. 3. A band of filet crocheting forms the brim, and squares
of chain stitches form the crown of this cap. It is lined with silk;
the beading at the edge is interlaced with ribbon to match.

LACE BREAKFAST CAP.

No. 4. The crown of this cap is made from all-over lace; lace
edging about 2" wide forms th.e rulTle on the edge. The rufile and
crown are joined VNilh hicc heading interlaced with ribbon; the crown
is lined with Chir.a silk.

WORKING DIRECTIONS FOR CROCHETED TURBAN

This cap is made of a strip of crocheting 15" long by 18' wide,
as shown in the illustration.

CROCHETING THE CROWN PIECE.

To make the crown piece, crochet 85 chain stitches loosely (Chap.
II, Par. 155). This should make a chain 15" long. Increase or de-
crease the number of stitches if necessary. On this row of stitches
you are to make a row of stitches resembling stars. To do this, turn
over work, skip first ch. st. draw a loop (1) through each of the
next 4 ch. sts., then draw a 1 through the 5 loops on the hook all at
one time; to complete first star ch. st. one. To make second star,
draw a 1 through the eye of the star just made; a 1 through back of
last 1 of same star, then one 1 through each of the next 2 ch. sts.
Finish the same as first star; continue making these stars to end of row.

To make the second row, which is to be the same as the first
one, turn the work over; ch. st. 3, take up two Is on this ch., one 1 in
eye of star below, one 1 in the back of upper 1 of same star; finish star
as usual. Take up one 1 through eye of star just finished; one 1
through back of last 1 of same star, one 1 through eye of next star
below, and one 1 through back of upper 1 of same star; finish star
as usual. Continue to end of row.

Continue making each succeeding row like second row until the
work is 8^2" wide. On the next, or center row of crown i)iece, you
are to begin to divide the lower half in two pieces. To do this make
star stitches half the length of crown piece (about 20 stars), then

continue with ch. sts. (about 45) the remaining length of the strip;
turn and work stars upon the ch.; continue to end of row. Continue
the worli as before until the second half of crown piece is 8V2"
wide. Fasten the thread by breaking the yarn and pulling end of
last St. made, thus tying knot. A beaded edge may be made on the
two long edges as follows: Begin by making 3 ch. sts., draw a 1
through first st,, and a second 1 through the next st. on the same ch.
Skip 2 sts. on the edge of the st. below, draw the yarn through
edge of third st., then draw a 1 through the 5 Is. on the hook, all
at once. Continue to end of row; fasten thread.

FRONT BAND.

This is to be made separate and fastened to the end of crown
piece. To make it, crochet a ch. of sts. 10y2" long; turn and make
a double crochet (d c) in each ch. st. The model has 57 d cs (there
should be an uneven number of sts). To make a second row, turn
work over and return, making a d c in front thread of first st., then
a d c in back thread of next st., continuing to end of row. Continue
crocheting back and forth the same as you did in this row until the
work is from one to four inches deep, depending on the width you
desire the band.

To round the ends of the band, in the next row crochet d cs to
within 10 sts. of end of row; fasten in edge of next d c with a slip
stitch (si st), (Chap. II, Par. 156), return and d c to within 10 stitches
of end of this row, fasten last d c with si st ; be careful to keep the pat-
tern even when working over the ends of short rows. Make one row
of d cs entirely across, then a final beaded edge similar to one on
edges of crown piece.

To set band on crown piece, d c closely across the end of the
crown piece, skipping sts on the edge sufficiently to gather it into
a IOV2" space (the length of the band). Join gathered end of crown
piece to straight edge of band with si sts. Turn band double and
si st open ends together.

FINISHING THE ENDS OF CROWN PIECE.

Lay each end in pleats to a space of 2" or less; work across the
pleats with two rows of tight si sts. Cover two elastic bands, or
heavy strings tied in loops large enough to slip over the buttons
with d cs and sew to the pleated ends.

To cover the button molds, ch 3, join in a ring (r), work 8 d cs
in the r; continue to work round and round without joining rows.
The second row is made larger by placing 2 d cs placed in every third
St. Continue increasing enough to keep the work Hat until it is same
size as mold, then work one row plain. Make next round, skipping
every other st. Slip in mold and work 3 or 4 more sts, skipping
every other st to make it narrower. Sew in place at ends of band.

DARNED TOWEL

MATERIALS.

Huckaback Toweling (Chap.
I, Pars. 20 and 47).

11/4 yards huckaback.

San silk, or mercerized em-
broidery cotton in two
shades.

Blunt pointed needle to cor-
respond.

INTRODUCTORY STATEMENT.

Towels are such a common household necessity that one is not
likely to get too many on hand. While a plain towel answers the
purpose for which it is needed, most home keepers enjoy having a
collection of towels finished in a more ornamental fashion.

The two edges are selvage and need no other finish, but the ends
must be finished with a hem, either plain or hemstitched, embroidered
scallops, or a crocheted edge of lace. Other decor-ations for a towel
may consist of a design worked above the hem in embroidery stitches,
or set-in strips of handmade lace insertion.

Darning with colored embroidery cotton under the loose threads
of buck toweling is a very simple and efTective method of decorating
a towel. A great variety of darning designs can be worked out by
using different colored threads and weaving them into the buck in
different patterns.

The towel in this lesson shows a simple design darned in the
huckaback in two shades of color, forming simple borders and small
diamonds across the ends of the towel. It would be interesting to
plan and work a design of your own.

References:

Manufacture of Linen, Great Industries of U. S.
Huckaback, Textile Desisn, Woodhousc & Milne.

98
SUGGESTIONS FOR OPTIONAL MODIFICATION.

XX30^«%^%^^^H

DARNED TOWEL.

No. 1. In this towel, made of huckaback, a design is darned
through the threads of the huckaback in such a manner as to produce
a rickrack effect. Notice that the second row of stitches is parallel
with the first.

DARNED TOWEL.

No. 2. This towel is also made of huckaback with a more elab-
orate design. Three colors of thread are used but the design is easily
worked as each succeeding row of darning stitches is parallel with
the one preceding it.

DARNED TOWEL.

No. 3. This towel offers another suggestion for a design that may
be made by darning under the raised threads of buck toweling.

WATER LILY TOWEL.

No. 4. In this towel a design is transferred to the towel; it is
outlined with the outline etching stitch, the satin stitch being used
in a few places on the petals of the flower. The inside of the design
is filled with stitches darned under the raised threads of the toweling.

99
WORKING DIRECTIONS FOR DARNED TOWEL

PREPARING MATERIAL.

This towel is to be finished with hemstitched hems one inch
wide and decorated by darning under the raised threads of the huck-
aback with colored thread.

Straighten the raw edges on the end of the towel (Chap. II, Par.
102). On one end of the towel measure in 2Yi" from the edge; draw
a thread, fold, baste with even basting (Chap. II, Par. 103) and finish
a one-inch hem with double hemstitching, drawing the remainder of
the threads and making the stitches as directed in Chap. II, Par. 116.
Finish the opposite end of the towel in exactly the same manner.
Overhand (Chap. II, Par. 109) the open ends of the hems together,
if desired. Remove basting threads. In finishing the ends of the
towel, be careful to keep the side on which the raised threads run
lengthwise for the right side, so the needle will slip under them
easily when darning in the design.

THE DESIGN.

While the working directions in this lesson are given for the
design shown in the illustration, it is advisable and will be found
much more interesting for each girl to plan her own design and de-
cide on the colors to use in working it.

The two rows of parallel stitches forming the border of the de-
sign in the illustration are placed Vi" above the hemstitching. Use
the dark thread for the border. To make the first row, insert the
needle on the under side of the cloth, run it under two or three of
bucks or raised threads gn the under side and bring it through to
the right side even with the selvage edge; make a straight row of
running stitches under the bucks, or raised threads of the toweling,
to the selvage on the opposite edge. Bring the thread through to the
under side and fasten it the same as in the beginning. Skipping one
row of bucks, begin the second row in the same manner as first and
make this second row parallel with the first row.

The diamond shaped design in the center you will notice in the
illustration is placed parallel with the border. Use thread of an-
other shade for this. To make this part of the design, measure up
one inch from the second row of parallel stitches forming the border,
beginning at the right-hand edge; fasten the thread as before and
bring the needle through to the right side of the material close to the
inside of the selvage; slanting the needle upward, take 3 hucl<s on
the needle, draw the thread through, then slanting the needle down.

100

take 4 bucks on the needle, slanting it up take four more bucks on
tbe needle; continue across tbe towel in tbis manner, first making
slanting stitcbes up, tben down. Fasten tbe tbread at tbe opposite
ends as in tbe beginning.

To complete tbe diamonds, fasten tbe tbread on tbe under side
of tbe towel wbere you fmisbed tbe first row and bring tbe needle
tbrougb to tbe rigbt side; take slanting stitcbes up and down as you
did in tbe first row, making tbem cross tbose in tbe first row in sucb
a way as to form little diamonds. Fasten tbe tbread on tbe under
side, as in tbe beginning.

To make tbe otber two parallel rows wbicb form tbe top border
of tbe design, measure up one incb from tbe center of tbe diamond,
fasten tbe tbread on tbe under side and make a straight row ot
stitcbes under tbe bucks as you did for the first row in tbe lower
border; skip one row of bucks and put in a second row of stitcbes
in tbe same manner. The other end of tbe towel should be finished
in tbe same manner. Press the finished towel carefully.

101

DRESSER SCARF

Thread No. 70.
Needle No. 8.

MATERIALS.

Mull (dotted) (Chap. I, Par. 26).

1 yard dotted mull, 18" wide.

1% yard lace insertion 2" wide.

21/4 yards lace edging about 2Vi" wide.

INTRODUCTORY STATEMENT.

While a plain towel will answer for a dresser scarf very satis-
factorily, it is quite customary to have a special cover for the pur-
pose. The dresser scarf may be made long enough to hang over the
ends of the dresser a few inches, or may be made simply long
enough to cover the top; this is a matter of taste.

\ dresser scarf gives an opportunity for different kinds of hand-
work, and though a very attractive looking scarf may be made by
simply embroidering an initial in the center, using nice material
for the cover and finishing the edges with plain hems, yet many
elaborate designs are made.

As you will notice in the illustration for this lesson, embroidered
mull, trimmed with lace and lace insertion along the front and two
ends, has been used. Tliis makes a dainty and inexpensive dresser scarf.

References;

Household Decoration, The Cornell Heading-Courses.

Lace Making and Embroidery in the Philippines, V. S. Bureau of Education
Bulletin 34.

102

SUGGESTIONS FOR OPTIONAL MODIFICATION.

EMBROIDERED DRESSER SCARF.

No. 1. This scarf is made the same size as the one in this lesson.
The edges are finished with emhroidered scallops. A design at each
end is embroidered in white.

DRESSER SCARF.

No. 2. This dresser scarf is finished with a crocheted edge. The
design consists of running stitches worked over a stamped design.

HEMSTITCHED DRESSER SCARF.

No. 3. This dresser scarf is made of white linen finished with a
hemstitched hem V/o" wide. The initial is worked with the satin stitch.

EMBROIDERED DRESSER SCARF.

No. 4. This dresser scarf is finished on the edge with linen lace.
The design is worked in colors with French knots, lazy daisy, outline
and satin stitches.

103

WORKING DIRECTIONS FOR DRESSER SCARF

PREPARING MATERIAL.

You may measure your own dresser and make the dresser scarf
to fit it. The dresser scarf in this lesson is made 18" wide by 36"
long, without the lace. Straighten one end of the material (Chap. II,
Par. 102). Leave the selvage for the back and measuring from the
selvage out on the short edge 18" (the width of the material for the
dresser scarf), draw a thread lengthwise and cut on the line. From
the short edge measure down on the selvage 36" (the length), draw
a thread crosswise and cut on the line.

FINISHING THE RAW EDGES.

The edges on the ends and front are to be fmished with a narrow
hem. Fold, baste and sew in place with the machine (Chap. II, Par.
164), or hemming stitch (Chap. II, Par. 114). Remove bastings. The
edge is to be trimmed with lace, as shown in the illustration. The
lace may be sewed in place with the sewing machine, or overhanded
on (Chap. II, Par. 112). If it is to be sewed on with the sewing ma-
chine, begin with the selvage edge, letting ^A" of the lace extend for
a hem; lay the wrong side of the lace on the right side of the hem,
letting it overlap about is of an inch. Baste with small, even bast-
ing (Chap. II, Par. 103), mitering it carefully at each corner (Chap.
TI, Par. 147); leave ^/4" extending at the other end for finishing. Sew
the lace in place with the sewing machine. If the lace is to be over-
handed on the dresser scarf, follow directions in Chap. II, Par. 112,
mitering the corners as directed above.

TO SET IN THE INSERTION.

As the insertion is to be placed 2" from the outside edge of the hem,
make a gauge of cardboard 2" long and V2" wide to use as a guide
in setting the insertion on evenly. Beginning at the selvage edge
and allowing I/4" of the insertion to extend for finishing, lay it on
smoothly, keeping it an even distance from the edge of the hem. (Test
Avith the gauge). Baste the insertion in place, pin along its outside
edge; as you turn each corner, fold the insertion for mitering (Chap.
II, Par. 147), continuing to pin and baste it even with the front edge
luitil the lace is on entirely around the scarf; leave Yi," extending
beyond the selvage for finishing. Baste it down carefully on the
other edge. Stitch in place with the sewing machine, very close to the
edge.

104

Turn the material to the \\Tong side and cut out the material
under the insertion, letting about %" along each edge extend, for fin-
ishing. Finish mitering the corners, which you have already folded,
and finish the raw edges on the ends of the insertion with a narrow
hem, making it even with the selvage at the back of the dresser scarf.
On each edge of the insertion, fold the extra material back away
from the insertion and turn under the raw edges, forming a narrow
hem on the material along each edge of the insertion. Baste, and
stitch the edge of the hems in place on the sewing machine (Chap, II,
Par, 164) or sew in place with hemming stitches (Chap, II, Par, 114),
Remove all basting threads and press carefully,

A mull with large embroidered bowknots in it is made very
attractive by working the bowknots with the satin stitch (Chap. II,
Par. 131) in a delicate color. It is not advisable to work over the
designs in mull unless they are large.

105

KITCHEN
APRON

MATERIALS.

Percale (Chap. I, Par. 31) or.
Gingham (Chap. I, Par. 19) or,
Chambray, (Chap. I, Par. 9 ) or.
Calico (Chap. I, Par. 5).

1 yard 36" wash goods, or 2
yards in a narrower width.
V-2 yards W cotton tape.
Thread No. 70.
Needle No. 8.

INTRODUCTORY STATEMENT.

Aprons are an absolute necessity to anyone who is doing house-
work. Even the schoolgirl who may merely assist with some of
the lighter duties will find it very convenient to have an apron or
two to slip on over her school dress while at work. An apron is
more easilj^ made, also much more easily laundered than a dress,
and will therefore save considerable work.

It is practical to wear an apron of dark material when scrub-
bing or cleaning, or doing any sort of work which will soil it. A
light colored apron looks more attractive for cleaner work. Kitchen
aprons are usually made of calico, percale, gingham or chambray;
such aprons should be made large enough to protect the dress.

The apron in this lesson, though somewhat unusual in style, is
very easily made, covers the dress well and is easily put on and
taken off; it therefore makes a very satisfactory kitchen apron.

References:

Process of Calico Printing, Great Industries of U. S.
Household Textiles, Gibbs. WTiitcomb & Barrows.

106
SUGGESTIONS FOR OPTIONAL MODIFICATION.

THREE PIECE APRON.

No. 1. This apron is made from a commercial pattern. The
straps in the picture are buttoned over without crossing to show the
shape of the apron. When worn they are crossed in the back. This
makes a very comfortable apron, as it cannot slip off the shoulders,
is easily put on, may be opened flat for ironing, and covers the dress
almost completely.

BIB APRON.

No. 2. This apron is more elaborate than No. 1. It should be
made of a light gingham or percale and trimmed with bands of bias
material of a contrasting color. It may be made from a commercial
pattern, or by using three gores out of a five gored skirt pattern,
pointing them at the bottom as in the illustration. A bib similar to
this one may be cut freehand and pinned to the front gore of the
pattern. The straps crossing in the back of this apron keep the bib
from slipping off the shoulders; they are buttoned onto the band.

107
WORKING DIRECTIONS FOR KITCHEN APRON

PREPARING MATERIAL.

If the material is a yard wide and the proper amount has been
torn off, simply straighten it (Chap. II, Par. 101). If the edges have
been cut, even them (Chap. II, Par. 102). If the material is less than
a yard wide, measure and tear off two pieces, each one yard long.
As the material should be one yard (36" wide) pin the selvages
of these two pieces together and tear off enough from one strip to
leave a piece one yard wide (where the narrower material is used
it is advisable to make two aprons at one time so the other half
width will not be wasted).

SEWING ON THE EXTRA WIDTH.

Making the ends even, lay the sides and the two selvage edges
of the two pieces of material together; baste and stitch with %,"
seam (on sewing machine). (The selvages are likely to pucker when
laundered, but this difficulty may be overcome by making three or
four very short, crosswise cuts on the selvages),

SHAPING TOP OF APRON.

- You will notice in the illustration that this apron is simply a
square of cloth turned cornerwise, with the point cut off at the top.
To cut off this point, measure from the top corner out on each ad-
joining edge about 10". Mark on the edge with pins and turn back
the corner of the cloth until a straight fold is formed between the
two pins; crease sharply. Cut off the point, using the crease as a
guide.

Finish the edges of the apron by trimming off the selvage, or
selvages, and turn a ^4" hem with a narrow first turning all the
way around them; crease it firmly in place. Baste with even basting
(Chap. II, Par. 103). The edges are trimmed with rickrack braid
which should be basted on before the hem is sewed in place. To put
on the rickrack, lay it on the hem on the wrong side of the apron so
the points ^^^ll extend over the edge and show on the right side. Baste
it to the edge of the apron with short, even basting stitches (be care-
ful to turn the corners neatly, mitering the rickrack if necessary.
Chap. II, Par. 146). Stitch through the rickrack close to the edge of
the apron with the sewing machine (Chap. II, Par. 164), then stitch
f trough it again along the edge of the hem.

108

SEWING ON TAPE.

Before sewing on the tape, hold the apron up to you as it should
be when completed and adjust the tape, placing it in the proper
position on the top edge of the apron and making it the proper length.
Pin it in place. To sew on the tape, turn under the raw edges, allow
it to lap about half an inch on the under side of the apron and sew
around the overlapping edges with hemming stitches. Adjust the
tapes on the back of the apron in the same manner and sew them
in place.

THE POCKET.

Cut a 5" square out of the material, taken from the top of the
apron. Make a ^4" hem across one edge for the top and finish with
rickrack; round the corners of the opposite edge for the bottom.
Turn under the raw edges V^" around the sides and bottom. Baste
to the apron in a convenient position and stitch around the sides and
bottom with two parallel rows of machine stitching (Chap. II, Par.
164), or one row of backstitching (Chap. II, Par. 107).

109
REVIEW QUESTIONS AND PROBLEMS.

1. What is the purpose of the himUng on the filing pocket?

2. What methods would you suggest for hanging a filing pocket?

3. What plan do you like best for making sleevelets to be used
in the kitchen? Why?

4. Name and explain all the stitches used in making the cap.

5. What sort of material would be suitable for a dust cap? Why?

6. Why is it better to keep silverware in a case rather than loose
in a drawer?

7. What sort of material is most suitable for a silverware case?
What is it worth per yard?

8. What points should be considered in selecting material and
designing a school bag?

9. What kind of cloth is most suitable for dusting purposes?
If you have used oil or furniture polish on the cloth how should the
cloth be treated after using it?

10. Why is a coarsely woven material most suitable for a towel?

11. What is the price per yard of good towel crash?

12. Why is the larger roller towel less desirable than the small
hand towels?

13. What is the purpose of a dresser scarf? What kind of
material would you select for this purpose?

14. What points would you consider in selecting the color and
design for a dresser scarf?

15. What stitches would you use in making a dresser scarf?

16. Why is an apron an important garment about the house?

17. What kind of material is most suitable for kitchen aprons?

18. Explain the dilTerence between calico and gingham.

SUGGESTIONS FOR HOME APPLICATION.

In the spring and fall before buying new clothes for the coming
season the left-overs should be gone over carefully. With a com-
paratively small amount of work many of the old garments may be
made wearable thereby effecting a considerable saving in the outlay
of money. With the experience you should have had in sewing after
completing this section, you should be able to do much of the simple
remodeling that maj'^ be necessary on your own clothes.

After discussing the matter with your mother and studying the
suggestions given below, perhaps she will be very glad to let you do
this work, or at least assist her.

SUGGESTIONS FOR LENGTHENING SKIRTS.

1. With a Hem.

A wide hem, if it is not worn or discolored on the lower edge, may
be ripped and folded up again as far as necessary to make the skirt
the right length. It should be basted and then stitched in place with
the sewing machine.

2. With a Facing.

If the hem must be unfolded the full width to make the skirt the
desired length, face it. This may be done by stitching another piece
of material, preferably about the width of the hem, on the bottom
edge, turning it to the wrong side and finishing it the same as a hem.
This piece should correspond with the material in the skirt; it may
be cut on the bias, or if the skirt is gored, a straight strip may be
fitted to the bottom of the skirt. Extra fullness in the upper edge of
the facing may be pleated in. If the skirt is made of wash material
which has been laundered, the strip used for facing should be shrunk-
en. Tliis may be done by wetting it thoroughly and pressing it when
partially dry.

3. With a Set-on Piece.

Where neither of the above methods can be used, a straight or
ungored skirt may often be satisfactorily lengthened by setting on
a piece of some contrasting material at the bottom; plaid or a
striped material may be used on plain goods, or plain goods set on
figured material. This strip should be cut wide enough to lengthen
the skirt as much as needed and also provide material to turn back
on the right side the width desired. It should be neatly stitched
in place.

Ill

4. With Insertion or Lace.

An under skirt may be lengthened by cutting it in two crosswise
and setting in a band of embroidery insertion, using a lapped seam
(Chap. II, Par. 139); or lace insertion may be used, sewing it in the
same as directed for the dresser scarf (Page 103), except that in this
case you baste the lace %" over the raw edge instead of cutting the
material out under it.

5. With Tucks.

If there are tucks in the skirt these may be ripped and carefully
pressed to provide the required length. (It is better to pull the threads
of the stitching than to cut them as there is great danger of cutting
holes in the material if you use the scissors or a knife.)

SUGGESTIONS FOR REPAIRING HEM.

When the edge of a cotton garment is worn it may be trimmed
and the raw edges turned in and stitched. A neater way is to rip
the hem, fold it back on the right side of the material, stitch it in far
enough from the edge to escape the worn places, then turn it back
(to its original position) and baste and stitch in i)lace. This second
method should be used on woolen garments.

SUGGESTIONS FOR REPAIRING WORN RANDS.

Where the buttonholes are badly torn, or the material under the
buttons, hooks or eyes has been torn away, it is well to rip the band
back to a strong place and set on a new piece, making it a continua-
tion of the band. Work new buttonholes, or sew the necessary
fastenings on the renewed band.

112

INTRODUCTION TO SECTION III

THE projects set forth in this section are a little more advanced
than those of the preceding sections, but if students have given

careful attention to the detail of the fundamental processes they
will not find these lessons difficult.

While the projects are not arranged in absolute order of sequence
of processes, and while they may not present a constant increase in
difficulty, yet the order in which they occur will be found a very
satisfactory way in which to take them up with the class. It is not
the thought that each student should begin at the first of the list of
lessons and complete every one in the section, but it is important
that promiscuous selection, prompted merely by curiosity, should
not be permitted.

The teacher who understands the strong points as well as the
weaknesses of the students can best advise each one what lesson she
should undertake in order to give her proper exercise of the ability
already acquired, and lead her into new principles and processes in
a consistent way.

This must not be interpreted to mean that the choice of the
student is to be ignored, in fact the spirit of independent thinking
must be encouraged. In each project will be found considerable
latitude for the exercise and development of individual taste.

The paragraph references to the Supplement are continued and
should have as frequent consideration as is necessary to insure form-
ation of correct habits of work.

113

TRAVELING CASE

MATERIALS.
Cretonne (Chap. I, Par. 12).

V2 yard cretonne at least 17"
wide.

V2 yard white rubber lining,

same width (if used).
IVo yards bias tape %" wide.
1 snap.

Thread No. 70.
Needle No. 8.

INTRODUCTORY STATEMENT.

When traveling, time and worry may be saved by having a
receptacle for all of your toilet articles so you can carry them with
you to the dressing room on the car, or easily find them when needed
without looking in the different corners of your grip. The traveling
case which answers this purpose has come to be a real necessity.

As the traveling case is usually subjected to more or less strain,
it should be made of serviceable material. Cretonne is a fabric
which lends itself very well to this use. The traveling case is often
lined with white rubber cloth, which makes it possible to place a
damp tooth brush or wash cloth in the case without danger of in-
juring or wetting other articles in the grip. Oftentimes the wash
cloth is kept in a rubber lined case by itself.

The case shown in this lesson is very simple in construction.
However, it will be found very convenient, as it provides pockets for
the brush and comb, tooth brush and wash cloth, with sufficient
room for other small articles.

References:

Educational Xeedlecraft, Swanson & Macbeth. Man. Arts Press.
Handicraft for Girls, McGauflin. Manual Arts Press.

114

SUGGESTIONS FOR OPTIONAL MODIFICATION.

No.

STATIONERY CASE,
1. This case is made of cretonne with two pockets the

proper size for the envelopes and paper. The edges are finished
with bias tape.

TRAVELING CASE.

No. 2. This traveling case is made of cretonne. The pockets
and flaps are separate pieces sewed on. The edges are finished with
bias tape. It is lined with white rubber.

SPOOL CASE.

No. 3. This case is made of green undressed kid, cut out at the
corners so it can be folded up to form the oblong case shown in
the illustration. The cover is made separate. The edges are bound
with green ribbon. Ribbon laced through holes in the sides of the
case pass through the spools and hold them.

SLIPPER CASE.

No. 4. This project consists of two similar cases made of cre-
tonne; each one is just large enough to hold a slipper. The edges are
finished with bias tape.

115

WORKING DIRECTIONS FOR TRAVELING CASE

PREPARING MATERIAL.

Straighten two adjoining edges (Chap. II, Par. 102). On the
shorter edge, measure out 16y2", the width of the traveling case;
draw a thread lengthwise and cut on the line. On the longer edge
measure down 18", the length of the traveling case before folding.
Draw a thread crosswise and cut on the line.

CUTTING FLAP.

TTiis traveling case is made from a strip of cloth, one end of
which is pointed and used as a flap; the other end is turned up to
form a pocket. To make the end pointed for the flap, find the center
by laying the two long edges together; crease on the fold, open the
material. From one corner measure down iVz". Mark with a pin.
Fold the cover over until a straight fold connects the end of the
center creases and the point marked with the pin. Crease with
thumb nail; open material, cut on the line formed by the crease.
On the same end, measure, fold and trim ofT the other corner in like
manner.

FORMING POCKET.

A traveling case is more serviceable if lined with white rubber.
If the case is to be lined, it should be done now. (To do tihis, cut
a piece of white rubber cloth or oiled silk the same size and shape
as the traveling case. Baste it to the case on the edges only, keep-
ing it smooth and free from wrinkles on the surface). The lower
edge is to be folded up to the flap to form the pocket. Before fold-
ing it, finish the raw edge (at the bottom) with bias tape.

Folded bias tape may be used, or bias strips %" wide may be
cut and the edges folded in to make them % " wide (Chap. II, Par.143).
To sew on the tape, lay the right side of the tape next to the wrong
side of the material, with the edges even, baste along the line of the
crease with even basting (Chap. II, Par. 103); stitch in place with
the sewing machine (Chap. II, Par. 164) or with fine running stitches
(Chap. II, Par. 106); remove the bastings, turn the other folded edge
of the tape over to the right side of the material, with the edge as
nearly opposite the edge of the other side as possible; baste it in
place with even basting and stitch close to the edge with the sewing
machine. Remove basting thread. As the pocket is to be 6" deep,
fold it up that depth (to the beginning of the flap) with the right
side out. Baste the edges together with uneven basting (Chap 11,
Par. 104).

116

The raw edges of the traveling case are to be finished with
bias tape also, fastening the pockets in place at the same time. After
turning under one end of the tape, sew it on the raw edge around
the case the same way that you sewed it on the edge of the pocket,
folding it to fit around the corners (it will not be necessary to sew
these folded corners as they are too narrow to require it). Finish
the other end of the bias tape by turning it under as you did the
first. Remove bastings.

SEWING ON FASTENERS.

This traveling case is held shut with a snap. Sew the smaller
part of the snap on the point of the flap (Chap. II, Par. 133) (be care-
ful not to let the stitches show on the right side). To find the place
in which to sew the other part of the snap, fold the flap over the
pocket, close the lower part of the snap onto the upper part, then
while holding the lower part in its proper position, pull the upper
part away from it; sew on the lower part of the snap, being careful
not to sew through to the back of the case.

If desired, the pocket may be divided into sections suitable for
holding different toilet articles. To make a pocket for the wash
cloth, make a row of parallel stitching SVi " from the edge of the case.
Another line of stitching parallel with this, 1" away, will provide a
pocket for the tooth brush. The remainder of the case may be used
for the brush and comb as shown in the illustration.

117

EMBROIDERED
NAPKIN

MATERIALS.

Damask Linen (Chap. I, Par^
45).

1 table napkin.
White Thread No. 80.
Needle No. 9.
Fine embroidery cotton.
Padding cotton.
Embroidery needle.

INTRODUCTORY STATEMENT.

Fine linen gives a distinction to the appearance of the table which
can be obtained in no other way. For this reason, linen has long
been popular as the choice table covering. On account of the great
demand for this fabric it is frequently adulterated.

To be able to select table linen wisely requires considerable
study and experience. Cotton is so cleverly made to imitate linen
that it is often difficult to distinguish its presence when mixed with
linen. It shows very plainly, however, after the linen is laundered,
as the ironing gives linen a fine gloss which cannot be obtained on
a piece of material containing much cotton.

The double damask is very serviceable and with careful treat-
ment, table cloths and napkins made from this material will last a
number of years. As a good linen gives such excellent service, it pays-
to finish the edges by hand.

The napkin, finished with a French hem, in this lesson, gives-
an example of the most common method used in finishing the ends
of both napkins and table cloths. This form of hem is very neat and
serviceable.

References:

Flax, Shelter and Clothing, Kinne and Cooley. Macmillan.

The Linen Industry. Textiles, \A'onlnian & McGowan. Macmillan.

SUGGESTIONS FOR OPTIONAL MODIFICATION.

PLAIN NAPKIN.

No. 1. This napkin is made like the one described in the lesson
with the initial omitted.

LUNCHEON NAPKIN.
No. 2. This napkin is made of plain linen. The hems are held in
place with double overcasting stitches made to cross each other. The
design is worked in cross-stitch.

LUNCHEON NAPKIN.
No. 3. This napkin is finished with a crocheted edge.

LUNCHEON NAPKIN.
No. 4. This napkin is finished with a plain scalloped edge.

FRINGED NAPKIN.
No. 5. This is a luncheon napkin with fringed edges made by
hemstitching the napkin about one inch from the edge and raveling
the threads up to the hemstitching.

LUNCHEON NAPKIN.
No. 6. This napkin is finished with hemstitched hems, and em-
broidered with the satin stitch.

119

WORKING DIRECTIONS FOR EMBROIDERED NAPKIN

PREPARING MATERIAL.

Napkins are rarely sold singly; they are usually joined in a
long strip with six or twelve in a set; two or three coarse threads,
mark the dividing line between the napkins. To separate the nap-
kins, cut between two of these coarse threads. If necessary, straighten
the edges of the end napkin (Chap. II, Par. 102).

FINISHING RAW EDGES.

Ordinarily napkins are finished only on the two raw edges, the
two selvages being left as they are. The hems of the cheaper napkins
which are used daily are sometimes stitched on the sewing machine
to save time, but fine table napkins should always be hemmed by-
hand. The French hem (Chap. II, Par. 119) used to finish the raw
edges of the napkin in this lesson is more commonly used than any
other. It is neat , strong and very easy to make. This hem should
be rather narrow (about Vs or A" is considered a good width).

If desired, the hems may be finished with hemstitching (Chap.
II, Par. 115) or with damask hemstitching (Chap. II, Par. 117).

Luncheon napkins, which are always smaller in size than the reg-
ular napkins, may be finished more elaborately. They are usually
hemmed on four sides. A hemstitched hem is frequently used; a
narrow edging of crocheting is also quite common.

DESIGN.

Table linen is embroidered very little, as the beauty of the linen
is considered its chief attraction, and it is not necessary to enhance
it with elaborate forms of needlework. However, it is customary
to mark each napkin with an embroidered initial or monogram (in-
terwoven initials). Table linen for a bride elect should be marked
with the initials of her maiden name; the matron should, of course,
use the initials of her name after marriage. While any style of in-
itial may be used to suit the individual taste, old English or script
is probably more commonly used than others.

The initial may be placed diagonally in one corner of the napkin.
If the center of the napkin contains a wreath design, the initial may
be placed in the center of this design. When this napkin is laundered
it should be folded in thirds lengthwise, then in thirds crosswise.
This will show the initial in the center of the folded napkin.

120

TRANSFERRING AND WORKING DESIGN.

Select an initial. If a commercial pattern is used, transfer the
initial to the napkin by placing the rough side down over the place
selected, and pressing with a hot iron; remove the pattern. If neces-
sary, transfer your design with carbon paper by placing a piece
slightly larger than the initial over the proper place in the napkin;
place pattern for the initial over this, pinning it to keep it from slip-
ping; trace the initial with a lead pencil. Remove the pattern and
carbon paper; work the initial.

This initial is to be worked with the satin stitch (Chap. II, Par.
131). It should be padded. The padding should be thicker in the
center than on the edges in order to make the letter rounding.

Paper Mache letters may be purchased and used in embroidering
initials. When they are used it is not necessary to use a design for
the initial on the napkin, nor to do any padding. Each paper mache
letter should be sewed securely in place with the satin stitch, lliese
letters will crack in time and are not as satisfactory as the letters
worked over the padded design.

FINISHING TABLE CLOTHS.

The ends of the table cloth should be finished the same as the
napkins. The initial, or monogram, may be placed in the center, if
there is a wreath design (any table decorations in the center of the
table will cover this, however). The design is often placed diagonally
in one corner inside of the border, or straight across one end (inside
of the border).

121

SHOP APRON

MATERIALS.
Denim (Chap. I, Par. 14).

%yard Denim.
2 yards mercerized tape.
White thread No. 50.
Needle No. 6.

INTRODUCTORY STATEMENT.

"When working in the manual training shop, it is quite necessary
for a boy to wear an apron of some sort to protect his clothes from
the wear of tools and materials and from the spots of stain and varn-
ish which are generally quit plentiful.

This apron should be made rather short so as not to interfere
with the free movements necessary in this work. As it is subjected
to hard wear it should be made of a strong material. Denim, ticking
or duck are generally used.

While a satisfactory apron may be bought, it can be made with
less expense at school or at home. In some schools, the girls in the
sewing class are very glad to repay the boys for services rendered
in repairing equipment in the sewing room by making their shop
aprons for them. This shows a fine spirit of cooperation.

The apron shown in this lesson can be very easily and quickly
made; the size and arrangement of pockets is a matter to be deter-
mined by the wearer.

References:

Useful Fiber Plants, Dodge.

Spinning and Weaving, Textiles, Woolman & McGowan.

Macniillan.

122

SUGGESTIONS FOR OPTIONAL MODIFICATION.

SHOP APRON.

No. 1. This is a very common style of shop apron provided with
two large pockets for nails and a small pocket for ruler and lead
pencil. These nail pockets should be set on with considerable full-
ness so they will stand open, allowing easy access to the nails.

CHILD'S PLAY APRON.

No. 2. This apron may be used by a child to protect the cloth-
ing while working in clay modeling, or at mud pie making.

NAIL APRON.

No. 3. This is a very common style of apron used by carpenters.
While it does not offer much protection to the clothing, it is con-
venient for carrving nails.

123

WORKING DIRECTIONS FOR SHOP APRON

PREPARING MATERIAL.

Straighten the raw edge on one end (Chap. II, Par. 102). Meas-
ure down one selvage 27" (the length of the apron); this may be too
long for a small boy. If it is, make it the length desired. Draw a
thread crosswise and cut on the line. The selvages may be left to
finish the hems on the sides, for the selvages on this heavy material
are not likely to pucker when laundered; they will make a firm
finish for the hems.

SHAPING THE APRON.

This apron is curved under the arms, but as no sleeve is in-
serted, it is not necessary to cut the curves as accurately as you
otherwise w^ould. To locate the top of the curve, find the center of
the apron lengthwise by folding the two long edges together evenly;
crease en the fold. On one end of the apron (this is to be the top)
measure out from the center fold 6" (half the width of the top of the
apron); mark with a pin. To locate the bottom of the curve, measure
down from the upper unfolded corner 8^2"; mark with a pin. With
a piece of tailor's chalk, or ordinary crayon, which has been sharp-
ened to a point, mark an inward curve, connecting the two points
marked by the pins. Cut through both thicknesses of the material
around the curve. If the cloth is too thick to allow you to cut two
thicknesses at a time, cut on the curve on the upper side first; use
it as a guide to cut out the curve on the other side.

SEWING ON TAPES AND TURNING HEMS.

To find the length of the tape for the neck, pin one end of the
tape to the top edge of the apron near the arm curve; holding the
apron up to the person for whom it is intended, bring the tape around
the back of the neck, adjust the apron to the proper length and pin
tape on the edge near the other corner of the top of the apron. Cut
off the extra tape; divide in two pieces of equal length and use these
pieces for apron strings. The tape for the neck is to be stitched in
with the top hem of the apron. To do this, unpin the ends of the
tape and baste them on the right side of the material, even with the
edge in the place they were pinned, near the top of the arm curve.

Fold and baste a Va" hem around the arm curve and the top
of the apron, turning in the ends of the tape with the hem. Stitch
these hems in place with the other hems of the apron. The tapes
which are to be used for strings are to be sewed to the straight edges,

124

at the back near the arm curves; as they are to be stitched with the
hem, lay the end of one piece of tape on the right side of the apron,
allowing the end to extend over the selvage about i/4". Turn this
edge under and pin it in place. In the same manner place the other
piece of tape on the opposite edge of the apron even with the first
tape. Beginning at the bottom of each long edge, fold V^" hem with-
out a first turning up to the arm curve, turning the ends of the tape
inside and letting the selvage finish one edge of the hem. Baste
with even basting; fold and baste a hem about Vl" wide at the bottom
of the apron, stitch the hems around the edges of the apron on the
sewing machine, sewing the tape in the edge of the hem as you stitch.

RULER POCKET (IF DESIRED).

A pocket may be placed on the apron if desired. This pocket
may be 5" long and 3" wide with a V2" hem at the top. Turn in the
other raw edges, crease and baste with uneven basting (Chap. 11,
Par. 104). Place it on the apron about 2^2" from the left arm hole
and a few inches from the top of the apron; baste it in place and
stitch around the edges on the sewing machine. A narrow pocket for
a pencil may be formed by making a row of stitching through the
pocket parallel with the sides.

125

IRONING BOARD COVER

''^^^l^^^^^H

U^^^T'

MATERIALS.

Muslin (Chap. I, Par,

27).

2 yards muslin (un-
bleached).

4 yards tape.

White thread No. 70.

Needle No. 8.

1 piece drafting pa-
per, 30"x62".

INTRODUCTORY STATEMENT.

It is very important that the cover on an ironing board should
be kept clean. If it is not it will soil the clothes that are ironed on
it. With care, the cover on an ironing board can be kept clean for
some time, but on account of dirt and the occasional scorching which
ironing boards are almost sure to get, it will eventually need to be
removed; if it is tacked to the board permanently this is quite a task.

A cover which can be easily removed and replaced will be found
much more satisfactory. Before this cover is placed on it, the iron-
ing board should be properly padded with several thicknesses of
canton flannel, hea\y outing flannel or felt (a discarded blanket or
bed spread will answer this purpose).

The removable cover shown in this lesson is provided with
tape strings placed at frequent intervals. These tapes are to be tied
together under the board, thus making it possible to adjust this cover
to different sized ironing boards, also to draw it perfectly smooth.

Unbleached muslin makes a very satisfactory cover, and since
it is not expensive, it is very commonly used for this purpose.

References:

Approved Methods for Home Laundering. Proctor and Gamble Co., Cin., 0.
Laundry ManuaU Balderston & Lemerick. Whitcomb & Barrows.
Laundry Manual, Mrs. Lord. Nelson & Son, X. Y.

12G
SUGGESTIONS FOR OPTIONAL MODIFICATION.

LARGE IRONING BOARD COVER.
No. 1. No. 1 is a large ironing board cover, very similar to the
one in the lesson. It is provided with rings so as to lace around the
board with tape. The top portion of the ironing board cover is a
sort of pocket or hood that fits securely over the end of the board,

PRESSING PAD.

No. 2. No. 2 is a pressing pad made of hea\'y unbleached muslin
of two or more thicknesses. It is provided with tapes with which
it may be fastened in place. It is used in pressing laces and very
dainty fabrics.

PRESSING CLOTH.

No. 3. No. 3 is a large rectangular piece of heavy unbleached
muslin hemmed on all sides. It is used in pressing garments.

IRONING BOARD COVER.
No. 4. This is a large ironing board cover gathered at one end
and held in place by ties of tape.

127

WORKING DIRECTIONS FOR IRONING BOARD COVER

PREPARING MATERIAL.

If desired you may make a pattern and cut the ironing board
cover from it, using the following directions, or you may apply the
directions directly to the muslin. Straighten one end of the material
first (Chap. II, Par. 102), then fold it in the center lengthwise.

LAYING OUT THE COVER.

As the dimensions are given for one-half of the ironing board
cover folded lengthwise, first find the center of the paper by folding
the long edges together evenly. On the straightened end measure
out from the center fold 15" (half the width of the cover at the wide
end). Mark this with a dot and call it number 1. From dot 1 meas-
ure up on the fold 45" (the place where the flap begins); mark with
a dot, call it number 2. From dot 2 measure out 12" (the width ol
the ironing board cover at this point); mark ^^^th a dot and call it
number 3. Connect dots 3 and 1 with a straight line, using a yard
stick and pencil. As half the flap is 5" narrower than half the iron-
ing board cover at this point, measure back toward the fold from dot 3,
mark with a dot, call this number 4. Connect dots 3 and 4 with a
straight line. P'rom the folded corner at the wide end of the cover
measure up on the fold 60", the full length of the cover, mark with
a dot and call it number 5; from dot 5 measure out 6" toward the
unfolded edge (this is half the width of the narrow end of the flap);
mark with a dot; call this number 6. Connect dots 6 and 4 with a
straight line; cut out the pattern for the cover, making it the shape
shown in the illustration. As the flap is to be made double in order
to fit over the end of the ironing board, an extra piece must be cut
out for this purpose. Open the paper and pin the flap end over an-
other piece of paper large enough to cut the piece exactly like the
flap, allowing ^2" extra on the wide end for a hem. Cut out the extra
piece. Fold the long edges of the material for the cover together
evenly; crease on the fold; lay the straight edge of the pattern on
the fold of the material; pin it in several places to keep it from slip-
ping; cut out the cover.

SETTING ON TAPES.

The ends of the tapes to be used to tie the cover to the ironing
l)oard are to be folded under with the hems. Thej^ should be pre-
pared first. To do this, cut 18 pieces of tape each 8" long. On the
right side of the cover, beginning at the wide end, lay 9 of these

128

strips on the cloth with one end of each even with the edge of the
cover at equal intervals of 5". Fold, baste with even basting (Chap.
II, Par. 103) and stitch a hem V^" wide along this edge of the cover
and the end next to the flap, stitching the tapes under edge of the hem.
Finish the end of the hem next to the flap by turning in the raw
edge and sewing it down with hemming stitches (Chap. II, Par. 114).
Fasten the tapes and make a hem on the opposite edge and end of
the cover in exactly the same manner.

Finish the wide end of the cover with a ^A" hem, the same as
the hems on the edges.

TO MAKE THE FLAP.

Make a Vi" hem on the wide end of the extra piece which is to
be sewed on to the flap end of the ironing board; turning the seam
toward the wrong side, make the edges even and baste this piece
to the flap with a i/4" seam. Stitch it in place on the sewing machine
(Chap. II, Par. 164); turn right side out; remove all bastings.

129

CLOTHES PIN APRON

MATERIALS.

Ticking (Chap. I, Par. 34)

or
Gingham ( Chap. I, Par. 19 ) .

1 yard ticking or gingham.
30" bias tape %" wide.
Thread No. 70.
Needle No. 8.

INTRODUCTORY STATEMENT.

Wash day at its best represents a great deal of hard work, even
though modern inventions have done much to relieve the housewife
of some of the drudgery. While the laundries are supplied with
regular driers in which the clothes are hung and dried very quickly
with hot air, there is nothing that quite takes the place of sunshine
and fresh air in drying clothes, and in the average home the clothes
are still hung out of doors on the line where they are thoroughly
sweetened with nature's great disinfectants, sunshine and fresh air.

When clothes are hung out of doors they must be fastened to
the line with clothes pins. To save stooping to the clothes basket
each time clothes pins are needed, a clothes pin bag of some sort is
usually hung over the shoulders or tied around the waist. This bag
should be made of some firm material, such as ticking, denim or
galatea cloth.

While the clothes pin bag does not offer much opportunity for
originality in design, yet the clothes pin apron shown in this lesson
has some advantages; it can be tied around the waist, will remain
open sufficiently to allow easy access to the clothes pins, and will
also afford some protection to the clothing.

References:

Laundry Work, Shepperd. Webb Publishing Co., St. Paul.
House Sanitation, Talbot. Manual .\rts Press.

130

SUGGESTIONS FOR OPTIONAL MODIFICATION.

CLOTHES PIN BAG.

No. 1. This model is made very similar to the one described in
this lesson. The strap which is to be hung over the shoulders is
substituted for the band which ties around the waist.

"SUNNY MUNDY" APRON.

No. 2. This apron is also made very much like the one shown in
the lesson, the pockets are rounded out at the corners. The outside
edge is bound with bias tape the same as that used in binding the
pockets.

CRASH CLOTHES PIN BAG.

No. 3. This is an ordinary bag gathered at the top to fit a pair
of embroidery hoops about 6 " in diameter. It should be hung over
the shoulders with cable cord.

CLOTHES PIN APRON.

No. 4. This apron is made from a straight strip of material the
same width as the shoulders. A round hole is cut for the neck. One
end forms the back and is gathered into a band; the other end forms
the front and receives the pocket.

131

WORKING DIRECTIONS FOR CLOTHES PIN APRON

PREPARING MATERIAL.

This apron is to be made from one strip of ticking one yard
long by 21" wide. Straighten one end of the material (Chap. II, Par.
102). Measure down one long edge 36" (one yard), the length of the
apron and pocket. Tear crosswise, or, draw a thread crosswise and
cut on the line. Tear off a strip 2y2" wide lengthwise of the material
(this is to be used for the band). On one end of the material meas-
ure out 21", the width of the apron; tea,r lengthwise, or cut on a
thread or stripe of the material.

CUTTING OUT THE APRON.

This apron is to be made by cutting a curved piece out of one
end, finishing this with bias tape, and folding it up even with the
other end to form the pocket for the clothes pins. To cut out the
curve, fold the material with the long edges even, crease on the fold
formed in the center. To mark the top of the curve, measure out
from the fold on one end lYz"; mark with a pin. On the same end,
to mark the bottom of the curve, measure down on the fold 8^/2";
mark with a pin. Connect the points marked with pins with a curved
line similar to the one shown in the illustration. Cut on the line
through both thicknesses of the material. To finish the raw edge
of the curve, fold it over about Yi"; baste with uneven basting (Chap.
II, Par. 104); keeping the edges even baste a strip of bias tape over
the folded edge, stretching it around the curve where necessary to
keep it smooth; stitch on both edges with the sewing machine (Chap.
II, Par. 164).. Remove bastings.

BINDING AND SEWING UP THE POCKET.

With the bias tape turned inside, fold this curved out end up
to the opposite one, making the straight edges even (you will notice
about 2" on each side of this end are left straight). The fold will
form the bottom of the apron. Round the corners of the folded edge,
as in the illustration. Baste the edges along the sides and bottom
together with uneven basting (Chap. II, Par. 104) and stitch in a V^"
seam with the sewing machine (Chap. II, Par. 164). Remove the
bastings, turn the apron right side out and stitch near the edge again
on the right side. Divide the pocket into two parts by stitching it
to the back of the apron on the center crease.

132

CURVING AND GATHERING THE TOP.

To make it fit tlie curve of tlie waist at the waist line it is
necessary to hollow, or curve the front of an apron slightly. To do
this, measure down on the center crease of the apron 1/2" from the
top. Mark with a pin, fold the apron on the center crease and, be-
ginning where the curved edge of the pocket joins the apron, cut
a slightly curved line (through both thicknesses) to the point marked
with the pin. As the apron is to be gathered onto the band slightly
to make it set neatly, begin 2" from each side of the center and gather
the top of the apron (Chap. II, Par. 141). Draw the gathers tight
enough to make each half of the apron 8" across the top.

SEWING ON BAND.

Use the strip 36" long and 2y2" wide for the band. This band
is to be made long enough to tie in the back.

To sew it on, first mark the center by folding the two ends to-
gether and creasing on the fold. With this center crease placed on
the center crease of the apron, sew and baste one edge of the band
to the top edge of the apron, turning the seam toward the right side.
Stitch together with the sewing machine (Chap. II, Par. 164). Turn in
the other edge of the band and fold it over just beyond the first
stitching; pin, baste carefully in place, and stitch with the sewing
machine. Finish the remaining raw edges of the band with a ^4"
hem stitched on the sewing machine. Make two parallel rows of
stitching across the band where it begins to join the apron.

133

SCALLOPED
TOWEL

MATERIALS.

Huckaback (Chap. I, Par. 47)

ci*
Damask (Chap. I, Par. 45).

P/4 yards of linen toweling.
Embroidery cotton.
Embroidery needle.

INTRODUCTORY STATEMENT.

Since the ends of the towels must be finished with hems or some
stitch like the loop stitch, it is interesting to observe the great variety
of ways in which these two methods are varied. The hems are made
in varying widths, finished with plain and fancy stitches. They may
be left without ornament on the edge or finished with crocheted
lace, or tatting, to suit individual taste. The other method, the loop
stitch, is employed in making scallops of varying sizes and shapes.

It is always advisable to use a good quality of linen for hand
embroidered towels in order that the quality of the material may
correspond with the artistic work.

An embroidered initial or design is usually worked above the
scalloped edge, but a towel made like the one in this lesson, which is
finished with the scalloped edge alone, will be very pleasing.

References:

Art in Needlework, Day. Manual Art Press.
Embroideries and Their Stitches. Buttrick Pub. Co., N. Y,

134
SUGGESTIONS FOR OPTIONAL MODIFICATION.

SCALLOPED TOWEL.

No. L This towel has a scalloped edge like the one described
in this lesson. A design placed above it is worked with eyelet and
satin stitch embroidery.

FANCY SCALLOPED TOWEL

No. 2. This towel is made with a deep scalloped edge. The de-
sign above the edge is worked with cross-stitches. The old English
initial is worked with the satin stitch.

SCALLOPED TOWEL.

No. 3. This towel is finished at the ends with more elaborate
scallops than those shown on the other towels; there are 5 tiny
scallops included in one large scallop. The towel is embroidered with
an eyelet above each scallop and an initial worked with the satin
stitch.

SMALL BATH TOWEL.

No. 4. This towel shows the effectiveness of the outline etching
stitch, French knots and lazy daisy stitches worked in colors on the
end of a bath towel. The scalloped edge is worked in a color which
harmonizes with the colors used in the embroidery stitch.

135
WORKING DIRECTIONS FOR SCALLOPED TOWEL

PREPARING MATERIAL.
Straighten the ends of material (Chap. II, Par. 102).

TO TRANSFER THE PATTERN.

The scalloped edge used on the towel in this lesson is a plain
scallop. It may be designed on a piece of paper in the following
manner; draw a pencil line V2" from, and parallel with, the end of
the pattern. Using a penny as a pattern lay out the bottom of the
scallops even with this line, with some object about the size of a
half dollar, lay out the top edges of the scallops.

If you make your own design it must be transferred to the edge
of the towel with carbon paper. To do this, cut a strip of carbon
paper a trifle wider than the scallop, place it carbon side down about
half an inch above the edge of the towel (the scallops are likely to
stretch if worked on the extreme edge). Place the pattern for the
scallop over the carbon paper, pin it to the material in two or three
places to keep it from slipping, trace around the scallops, remove the
carbon paper and pattern and work the scallops.

Commercial patterns for scallops are made in long strips and are
very easily transferred by placing the rough side down on the de-
sired place and pressing it with a hot iron.

TO WORK THE SCALLOPS.

When doing embroidery work, most people prefer to keep the
cloth smooth by stretching the material over embroidery hoops. It
is frequently necessary to baste a straight piece of lawn on the edge
below the scallops (so the hoops may hold the material securely).
Scallops may be worked with white or dainty colored embroidery
cotton; either coarse or fine may be used, but they should be padded
with the same colored thread used in working them. The padding
may be done by holding a regular padding cotton or rope even with
the lower edge of the scallops covering it as you embroider with ths
loop stitch; if the scallops are used with white thread, they may be
padded with darning cotton. (The padding cotton is usually heavier
than that used for the finishing stitch.)

To pad the scallops make the outline etching stitch (Chap. II,
Par. 125) or the chain stitch (Chap. II, Par. 126), around the edges

136

of the scallop first, then fill in the centers. The stitches may be rather
long but should be kept smooth and even. After the scallops are
padded, begin at the left side and work them with the loop stitch
( Chap. II, Par. 128), keeping the stitches very close and even on the
edges of the scallops. Both ends of the towel should be finished in
the same manner. Cut out the scallops and work over the edge with
the buttonhole stitch (Chap. II, Par. 136). An initial may be placed
in the middle of one end of the towel. This initial can be transferred
to the towel in the same manner as the pattern for the scallops; it
should be worked with the satin stitch. (Chap. II, Par. 131).

137

FANCY APRON

MATERIALS.
Lawn (Chap. I, Par. 23).

IVi yards lawn.
Thread No. 90.
Needle No. 8.

INTRODUCTORY STATEMENT.

As there are so many uses for small aprons, it is very desirable
to have several of them. A small apron can be worn many times
when a large apron would be inappropriate; it is indispensable when
preparing a chafing dish supper; it protects the sewing when doing
any kind of needle work, and may be worn when preparing or serving
a simple meal.

The material used in making a small apron should be dainty.
Lawn, organdie, dimity, fine muslin or soft mercerized white goods of
any kind is satisfactory. The delicate colored, sheer wash materials
are also very popular for this purpose.

Earlier in this book a sewing apron is suggested. It is made in
a very simple way while the apron suggested in this lesson embodies
most of the principles employed in making any apron which is set on
a band. It will serve as a foundation from which to develop almost
any style of fancy apron.

References:

A Sewing Course, Woolman. Teachers' College, N. Y.
Cotton from. Fiber to Fabric, Posselt, Vo. IX.

138
SUGGESTIONS FOR OPTIONAL MODIFICATION.

FANCY GORED APRON.
No. 1. This apron is made with three gores joined with lapped
seams. The slightly curved hem is set on with embroidery insertion.

FANCY APRON.

No. 2. This apron shows a combination of white and a dainty
colored material in a one piece apron with a bib. The colored ma-
terial is cut to fit the outside edge of the apron and scalloped as you
see in the illustration. EMBROIDERED APRON.

No. 3. This is a circular apron trimmed with lace sewed on a
rolled hem. The apron is embroidered with a combination of satin
stitches and eyelets. FANCY APRON.

No. 4. This model is much like the one described in this lesson.
It is more elaborate with lace trimming and hand embroidery.

139
WORKING DIRECTIONS FOR FANCY APRON

PREPARING MATERIAL.

Straighten one end of the material (Chap. II, Par. 102). On one
selvage edge measure down 24 y2" (the length of the apron plus the
hem). Draw a thread crosswise and cut on the line. The strings and
band are to be made from the remaining material. Measure out 4"
the width of one string. Draw a thread lengthwise. From the line
formed, measure out again on the same edge 4", the width of the other
string; draw a thread lengthwise. From the line formed measure out
21^" for the band. Cut on the lines and pin together the pieces for
the strings so they will not be mislaid.

PUTTING ON THE BAND.

As this apron is to be made the width of the material, the selvage
edges may be used for the edges of the apron. As it is not gored it is
necessary to gather it across the top to make it fit properly.

Before gathering, mark the center of one end, with a pin, call this
the top. Gather one edge of the material (Chap. II, Par. 141), draw up
the gathers until the top of the apron measures about 16" wide. Find
the center of the band by laying the two ends together, crease on the
fold; lay this crease on the center crease of the apron; pin and baste
one edge of the band to the top edge of the apron, turning the seams
toward the right side. (This will be stitched on the sewing machine
after the strings have been basted into the ends of the band.) Turn
in the raw edges on the ends and the unstitched edge of the band;
fold the band over the gathers just beyond the first stitching; pin,
baste carefully in place. This is to be stitched with the sewing ma-
chine after the ends of the strings are basted in the band.

TO MAKE THE STRINGS.

Turn a narrow hem (about Vs" wide on each long edge), baste and
stitch on the sewing machine (Chap. II, Par. 164) or hem by hand
(Chap. II, Par. 114). On one end of each string turn a ^V' hem; baste
and stitch or hem in place. To set the strings into the band, lay two
or three pleats in the unhemmed end of each string to make it just fit
inside the opening at the ends of the band.

Place the pleated end of one string inside one end of the band
about 1/4" and baste in place; insert the other string in like manner.

140

Stitch with the sewing machine on the right side, entirely around the
edge of the band.

PUTTING IN THE HEM AT THE BOTTOM.

Make a hem 5" wide at the bottom of the apron. If you desire
the apron longer, make the hem narrower, or if you would like it
shorter, make the hem wider. Baste the hem in place with even
basting and stitch in place with the sewing machine. Overhand the
open edges of the hem together (Chap. II, Par. 109). This hem may
be finished with hemstitching (Chap. II, Par. 115 or 116) or with
featherstitching (Chap. II, Par. 121) on the right side.

141

BEDROOM
SLIPPERS

MATERIALS.

2 skeins Germantown yam
(color desired).

1 skein Germantown yarn
(white or contrasting color).

1 pair slipper soles (size de-
sired).

1 bone hook.

Thread No. 60.

Needle No. 5.

INTRODUCTORY STATEMENT.

It is quite important that everyone should have some kind of
footwear that can be easily slipped on when it is found necessary to
walk about the house after the shoes have been removed. This is
necessary not only to provide comfort, but also to safeguard the health.

Yarn slippers with soles of soft wooly material will be found
very warm, comfortable and easy to slip on. During extremely cold
weather they will serve as slumber slippers to keep the feet warm
in bed.

The slippers shown in this lesson are easily crocheted; the com-
bination of two contrasting colors makes them very attractive.

References:

Book of the Use of Yarns. Horstman Co., Philadelphia.
.Art in Needlework, Day. Manual Arts Press.

142

SUGGESTIONS FOR OPTIONAL MODIFICATION.

BED SLIPPERS.
No. 1. These slippers are made from bath robe material; outing
flannel may be used. A stocking may be used as a pattern cutting
the slippers considerably wider at the top for the material will not
stretch like a stocking.

INFANT'S BOOTEES.
No. 2. These are crocheted from white Saxony yarn, trimmed
with crocheted rows of pink yarn.

BEDROOM SLIPPERS.
No. 3. The body of these bedroom slippers is crocheted in the
same manner as directed in this lesson. The tops are finished with
crocheted beading and scallops; bands of elastic run through the
beading hold the slippers on the feet.

BEDROOM SLIPPERS.
No. 4. These slippers are made almost the same as the slippers
described in this lesson, the top being finished with a scalloped edge.
The ends of the crocheted strings are finished with tassels.

143

WORKING DIRECTIONS FOR CROCHETED SLIPPERS

PREPARING MATERIAL.

The crocheted slipper in this lesson consists of rows of double
crocheting which are gradually increased in length from the toe to
the top of the instep, and crocheted half this width in a straight strip
long enough to fit around the back of the foot and join the instep of
the slipper on the opposite side. It is important that you buy the
slipper soles the proper size before crocheting the slippers as the top
should be fitted to the sole while crocheting.

CROCHETING THE BODY OF THE SLIPPER.

For a No. 5 slipper sole crochet 13 chain stitches (Chap. II, Par.
155) (a smaller slipper will need fewer chain stitches, but they should
be uneven in number). Turn over the work and double crochet
(Chap. II, Par. 157), in each chain stitch. In the seventh chain stitch
make two crochets (this begins to widen the slipper). Continue
double crocheting to the end of the chain. Turn over the work and
double crochet into the upper edge of the first row of double crochet
stitches, putting in two stitches in the double crochet at the center
of the row. Continue working back and forth making rows of double
crocheting in this manner, increasing the row with one extra stitch
in the center each time until you have reached the top of the instep
(about 51/4").

Begin to make strip to fit around foot as follows: On the last
row, working from right to left, crochet up to the center only of the
last row of double crocheting. Turn over the work and continue
crocheting rows of double crochet until you have a strip long enough
to reach around the back of the slipper sole to the edge of the instep.
F'asten to the row of double crocheting on the end of the instep by
laying the two edges together and drawing the slip stitches through
the stitch on the edge of each. This forms the body of the slipper.

CROCHETING COLLAR OF SLIPPER.

The collar, or rolled over portion of the slipper should be made
of yarn of a contrasting color. To make it, crochet a chain of stitches
2" long. Turn the work and make a double crochet in each chain
stitch; continue making rows of double crocheting back and forth
until you have a strip long enough to reach around the opening in the
top of the body of the slipper.

Laying the long edge of this strip on the inside of the top edge,
the ends being even with the center of the instep, slip stitch (Chap. II,

144

Par. 156) the two edges together; fasten the bottom ends of the collar
together about V2" with slip stitches. This makes the collar fit more
closely around the ankle. Turn the slipper wrong side out and over-
hand it on the inside edge of the slipper sole to the tape provided for
that purpose along the edge. Turn the slipper right side out.

TO MAKE THE POMPON.

Wrap yarn, corresponding with the yarn in the collar, around
three fingers of the left hand about 12 times. Slip it off the fingers
and tie the strands together with another piece of yarn. Lay the ends
of this piece in with the others and about W from the tied place,
wrap the strands of yarn several times tightly, with white thread. Cut
off the ends of the yarn where they are not tied about 1" above the
thread. Rub the cut ends on the palm of one hand to make them
fluffy. Make two of these pompons and sew them together at the
closed ends, then sew them on the instep of the slipper below the
front of collar.

Make the other slipper in the same manner as this one.

145

HANDMADE HANDKERCHIEF

MATERIALS.

Handkerchief Linen (Chap.
I, Par. 46).

1 piece handkerchief linen
11" square.

6-strand D. M. C. embroidery
cotton No. 25.

Fine steel crochet hook.

Thread No. 80.

Needle No. 9.

INTRODUCTORY STATEMENT.

There is a notion that a dainty spotless pocket handkerchief is
one of the marks of a well bred woman. If you wish to carry a clean
handkerchief on all occasions, it is quite necessary that you have a
considerable number of them. Although it is possible to buy them
at reasonable prices, many girls enjoy making at least some of their
handkerchiefs.

Handmade handkerchiefs may be made of fine, soft lawn, but
fine handkerchief linen is preferable although it is more expensive.
Linen handkerchiefs wear better than cotton ones.

Many people prefer to buy plain hemstitched handkerchiefs and
either finish the edges with lace or crocheting; or make an em-
broidered initial or design in the corner. This saves the time other-
wise spent in hemstitching the handkerchief by hand. The handker-
chief shown in this lesson is finished with a dainty crocheted edge.
It is made entirely by hand.

References;

Linen Trade — Ancient and Modern, Warden. Longsmans,
Chats on Old Lace and Needlework, E. L. Lowes.

146

SUGGESTIONS FOR OPTIONAL MODIFICATION.

HEMSTITCHED HANDKERCHIEF.
No. 1. This handkerchief is finished with a narrow hem hem-
stitched by hand.

FANCY HANDKERCHIEF.

No. 2. This machine embroidered handkerchief is finislied with
a narrow lace edging sewed on by hand.

FANCY HANDKERCHIEF.
No. 3. This handkerchief is made similar to the one shown in the
lesson, except that the machine-made hem is cut down to half its
width and the crocheting done over the remaining half of the hem.

FANCY HANDKERCHIEF.
No, 4. This handkerchief shows a more elaborate crocheted
edge than No. 3.

HEMSTITCHED HANDKERCHIEF.

No. 5. This hand hemstitched handkerchief is also decorated
in two corners with two rows of double hemstitching.

SCALLOPED HANDKERCHIEF.

No. 6. This handkerchief is made with hand embroidered scal-
lops and a hand embroidered design in one corner.

147

WORKING DIRECTIONS FOR FANCY HANDKERCHIEF

PREPARING MATERIAL.

If necessary, straighten two adjoining edges of the material.
Measure on each edge 11" the width and length of the handkerchief.
Draw one thread crosswise, another lengthwise; cut on the lines.

PREPARING HEM FOR CROCHETING.

The crocheted edge on this handkerchief is made over a tiny hem
laid around the edges. This hem should be very narrow (about Vs"
to 3/16" wide) to give the crocheted edge a dainty appearance. As
one thread is to be drawn to help you to keep the bottom of the
hem straight and the crocheting even, measure down about %" from
one edge and draw a thread. In the same manner draw a thread %"
from each of the other three edges. On one edge fold a hem with a
narrow first turning even with the line left by drawing the thread.
Fold and crease a similar hem on the other three edges. Baste the
hems in place with even basting (Chap. II, Par. 103).

CROCHETING THE EDGE.

While very fine crochet cotton may be used to crochet this edge,
a fine mercerized embroidery cotton is preferable. The 6-strand
D. M. C, cotton suggested in the materials will be found very satis-
factory. Before using it, unwind it from the skein and wrap it on a
small roll of paper, or an empty spool. You are to use but one of
these strands for your crocheting. This strand should be saparated
from the others and wound on a separate roll before you begin to
crochet.

The crocheted edge suggested for this handkerchief consists of
about 12 double crochets drawn through the line at the bottom of tnt
hem over the edge, one picot (a loop of chain stitches), 12 more
crochets; another picot and so on around the four edges of the hand-
kerchief.

To make this crocheted edge, insert the point of the hook through
the material on the line left by drawing the thread; draw a loop of
the crochet thread through the material; draw another loop of thread
through this one at the edge of the hem; then make 12 double crochets
(Chap. II, Par. 157), drawing the thread through the line at the
bottom of the hem and finishing the stitch on the edge of the hem

148

each time ; make a picot. To make the picot, make 4 chain stitches
(Chap. II, Par. 155) and fasten the last chain stitch into the last double
crochet with a slip stitch (Chap. II, Par. 156); continue making the
double crocheting as before until you have made 12, then make an-
other picot. Continue in this manner around the four edges of the
handkerchief. Fasten the last stitch by drawing a loop of the thread
through the first double crochet, then the end of the thread through
this, thus tying a knot.

149

CORSET COVER

MATERIALS.

1^/4 yards all-over embroid-
ery.

1 strip lawn 3" wide and
length of waist measure
plus 2".

3 snaps.

1 hook and eye, or
3 buttons.

% yard embroidery beading.

2 yards ribbon or lingerie
tape.

Thread. No. 80.

Needle No. 9.

INTRODUCTORY STATEMENT.

Now-a-days the fabrics used in making separate wash waists are
so sheer that it is very necessary to wear pretty lingerie under them.
All-over embroidery, wide embroidery, or lace edging made for this
purpose with eyelets near the edge through which to run ribbon
makes a very efTective corset cover and is very easily made.

In selecting embroidery for this purpose, examine the edge and
see that it is firm, as a poor edge will wear ofT ragged in a compara-
tively short time. The corset cover may be combined with drawers in
a combination suit.

The corset cover shown in this lesson is made of embroidery
edging. If it is not joined to drawers to form a combination suit, it
may be finished with a peplum to keep it from slipping up on the
corset. This is left to the option of the wearer.

References:

Embroidery, W. G. Townsend.

Dress Design, Hughes. Manual Arts Press.

150

SUGGESTIONS FOR OPTIONAL MODIFICATION.

SLIP-OVER CORSET COVER.
Nor. L This corset cover is made of one straight strip of em-
broidery curved out slightly under the arms and held on the shoulders
Vv'ith straps of embroidery beading. It hangs loose below the waist

line.

CREPE DE CHINE CORSET COVER.

No. 2. This corset cover is very attractive under a thin waist,
the lace sleeves being very desirable. The bottom is finished with an
elastic band. It may be made in much the same manner as the corset
cover described in this lesson.

LACE CORSET COVER.
No. 3. This corset cover is made of wide lace flouncing designed
especially for this purpose. It is fitted slightly under the arms with
seams and held in place on the shoulders with straps of ribbon.

ALL-OVER EMRROIDERY CORSET COVER.
No. 4. This corset cover is made from one strip of all-over
embroidery, fitted at the shoulders and curved out to fit the neck.
The bands which finish each end cross at the waist line and button
at the ends to fit the waist. A commercial pattern may be used for
this if necessary.

151

WORKING DIRECTIONS FOR CORSET COVER

PREPARING MATERIAL.

Shrink the embroidery and the lawn for the band by wetting
them thoroughly, partly drying and then pressing them. Straighten
the two ends of the embroidery (Chap. II, Par. 102). Cut a length-
wise strip of lawn 3" wide and 2" longer than the waist measure
of the band.

THE PATTERN.

This corset cover is held on the shoulders with straps of em-
broidery beading, the scalloped edge of the embroidery forming the
top edge of the garment. By modifying it slightly, a regular corset
cover pattern with gathered front may be used in cutting out this
corset cover. Use a commercial pattern, fitting it to you carefully. You
are to make the top edge of your corset cover pattern straight. To do
this, hold it up to the body and turn the upper edge under, forming
a straight line across the top of both the front and the back of the
pattern, the distance desired from the neck.

TO CUT OUT CORSET COVER.

Fold the ends of the embroidery together evenly, then lay the
center back of the pattern on the fold formed, with the straight edge
at the top of the pattern even with the scalloped edge of the em-
broidery. Pin it in several places. Lay the center front of the pattern
on the front edges of the material or, if more fullness than the
pattern allows is needed, place the pattern in from the edges as far as
necessary to provide for the extra fullness. Cut out the corset cover.

JOINING SEAMS, FINISHING ARMHOLES.

A French seam (Chap. II, Par. 137), or felled seam (Chap. II,
Par. 138) may be used to join the under-arm seam. Baste the under-
arm seams together and finish with the seam desired. Face the curve
in each arm hole with a bias strip of lawn about iy2" wide (Chap. II,
Par. 143). To sew on the facing, let the end extend a trifle above the
curve of the arm hole, lay it on the right side of the embroidery and
first baste, then stitch in place with a i/4" seam, holding it rather easy
around the curve (Chap. II, Par. 164). (If sewed by hand use the
combination stitch) (Chap. II, Par. 108). Turn the facing to the
WTong side, baste along the folded edge, turn under the raw edge,
baste (stretching it if necessary), and sew to the corset cover with
the hemming stitch (Chap. II, Par. 114), or stitch on the machine

152

(Chap. II, Par. 164); turn the raw edges under at the ends and hem
neatly. Pin or baste the straps on the top of the corset cover as in
the illustration. Turn in a V2" hem at the front edge.

GATHERING BOTTOM OF CORSET COVER.

Mark the center back with a pin at the lower edge. Gather the
material along this edge to within 2" of each under-arm seam (Chap.
II, Par. 141). Adjust the gathers to make the bottom of back about
9" or 10" wide between the under-arm seams.

Beginning 2V2" from the under-arm seams, gather the front pieces
along the lower edge to the hems on the front. Adjust the gathers so
the bottom of the corset cover will be the same size as the waist
measure, allowing 1" extra for the lapping of the band in front.

PUTTING ON THE BAND.

Crease center of band crosswise, place on the wrong side of the
corset cover with the crease even v,ith the center back. Turn in each
end of the band V2" and pin even with the front edges of the corset
cover turning the seams toward the right side, pin the band to the
corset cover in several places. Try on; adjust gathers and straps on
shoulders; baste and stitch the band and straps in place. Turn in
the other raw edge of the band and fold it onto the corset cover
just a trifle beyond the first stitching. Pin and baste in place. If a
peplum is desired, attach it now. Drawers may be combined with
the corset cover by splitting the bottom edge of the band and sewing
it to the drawers the same as you have sewed it to the corset cover.
Stitch the band to the corset cover, and peplum or drawers. If
these are not attached, stitch all the way around the band. Remove

all bastings.

FASTENINGS.

You may sew three snaps on the hems and one hook and eye on
the band rChap. II, Par. 133) over-lapping the band and hems on the
front; or buttons and buttonholes may be used placing two button-
holes in the center of the right hem and one crosswise in the band
(Chap. II, Par. 136); sew on buttons to correspond with the but-
tonholes.

153
REVIEW QUESTIONS AND PROBLEMS.

1. What material is most suitable for a traveling case? What
is it worth per yard?

2. How can you tell whether so-called "table linen" is really
linen or cotton?

3. Why is linen preferable to cotton for table cloths and napkins?

4. What treatment is sometimes applied to cotton in order to
give it the appearance of linen?

5. Inquire at your local dry goods stores and compare the cost
per yard of genuine table linen and cotton.

6. What kind of material is most suitable for a shop apron?
Why?

7. For what reasons should an ironing board have a cover?
What material is suitable for this purpose?

8. What points may be necessary in a clothes pin bag but not
required in a school bag?

9. What material would you use for a clothes pin bag?

10. Explain a method for laying out the scallops on a scalloped
towel. What common articles about the home may serve this purpose?

11. What is the purpose of a sewing apron?

12. What must you watch most carefully in order to make an
excellent running stitch?

13. How do you explain the fact that most of our mothers and
grandmothers were able to do such beautiful plain sewing by hand?

14. Explain two ways in which bedroom slippers may be made.
Which do you prefer? Why?

15. What sort of material would you select for a fancy hand-
made handkerchief?

16. Design, draw and explain how you could make an attractive
handkerchief.

17. What stitches are used in making the corset cover given in
this section? What other projects have you made employing those
same stitches?

18. What processes have you learned from these lessons which
you can use in your home work?

154

SUGGESTIONS FOR HOME APPLICATION.

1. While it is very necessary for the beginner to baste seams,
hems, etc., before stitching them permanently, the skilled seamstress
saves a great deal of time by pinning raw edges together and stitching
them without basting. It requires considerable practice to be able
to do this successfully.

Using a piece of wash goods that you already have on hand, make
a pair of sleevelets similar to those given in this section, without
basting them. Time yourself, do your work carefully, and compare
the results with work done where you have basted carefully before
stitching.

2. Stenciling is used quite commonly for decorating curtains,
sofa pillows, table runners and many other similar articles in the
home. Make your own design and stencil a sofa pillow, the curtains
for your room, or a table runner for a Christmas gift.

3. Sort out the stockings which are too badly worn for further
use. Cut ofT the feet, cut open the legs and join the narrow part ot
one to the wide part of another, forming a square, or oblong. Hem
the joined pieces on the edges with the sewing machine and use for
stove cloths; if saturated with furniture polish Ihey will also make
excellent "dustless dusters"; if folded in quarters, stitched on the
edges with a loop or ring sewed in one corner for hangers they may
be used for holders.

4. You may make an excellent broom cover out of a worn
Turkish towel. This may be used in dusting hardwood floors, base
boards, walls or the tops of doors, or window frames. To make this
cover, patch the towel if necessary, cut off the fringe if there is any,
fold to form a bag and stitch it together on the sewing machine.
Sew a tape on one side near the top with which to tie it to the
broom handle.

After you have completed the work in Section III you have prob-
ably had considerable experience in the use of the sewing machine.
The attachments on the sewing machine add greatly to its value, but
it requires considerable practice to use them successfully. You prob-
ably have a book of directions which was furnished with your sewing
machine; study it carefully for it explains just how to use the
different attachments.

The hemmers in particular are used to very great advantage.
Unthread the machine and practice using the narrow hemmer on a
strip of material.

155

If you have a number of napkins to hem, try this method of
quickening the work: Place the small hemmer on the machine,
place the edge of the napkin in the hemmer and fold it in place with
the hemmer without having any thread in the machine, then double
this hem back on the right side of the napkin and overhand it as usual.

In every household it is frequently necessary to replace worn out
articles with new. By careful management the life of many of these
worn articles may be prolonged and a considerable saving may be
affected thereby. By reading the suggestions given below for the
care of linen and worn sheets and discussing the matter with your
mother, you may be able to assist her in prolonging the life of
these articles.

SUGGESTIONS FOR CARE OF TABLE LINEN.

Remove spots and mend table linen before laundering. Place the
freshly laundered linen at the bottom of the linen pile and thus avoid
using the same pieces constantly.

Table cloths usually wear along the place where they hang over
the edge of the table. This worn space may be cut out and the table
cloth rejoined with a felled or lapped seam. This seam lying on the
edge of the table will be scarcely noticeable. A table cloth which is
too badly worn to be repaired in this manner may be cut in pieces;
the badly worn pieces should be saved to use for polishing cloths;
the better pieces may be hemmed and used for lunch cloths, tray
cloths, doilies, or picnic table cloths.

SUGGESTIONS FOR CARE OF WORN SHEETS.

A sheet which is worn in the center may have the worn piece
torn out; the selvage edges may then be overhanded together; the
torn edges should be hemmed to form the outside edges of the sheet.
If this makes the sheet too narrow for a full sized bed, it may be used
on a single bed, or a cot.

Another way of using a worn sheet is to tear it in strips about
36" wide and as long as the end of a comforter or quilt, and stitch
the ends together to form a casing which may be slipped over the ends
of the comforter to keep it from getting soiled (the ends of the com-
forters become soiled before the other parts).

Worn sheets make very satisfactory ironing board covers.

156

INTRODUCTION TO SECTION IV

THIS section presents a number of modifications and develop-
ments of the elementary processes and principles set forth in

the preceding sections. Students who have satisfactorily com-
pleted the work of the first half of this book, or its equivalent, should
be sufficiently familiar with the fundamentals of sewing to be able
to exercise considerable judgment, not only in the choice of projects
to be undertaken, but also in modifying those projects and in incor-
porating original ideas and personal taste in the designs.

A very wide range of ideas is presented in the projects of this
section in order to serve as a sort of review covering practically all
of the different principles set forth thus far. It also gives an oppor-
tunity for considerable choice in projects, thus making it possible to
appeal to the individual interest of every member of the class.

Some of the students may prefer to give most attention to the
smaller projects which deal somewhat wath art needlework. This
section offers an abundant opportunity for that kind of work. The
color study and design work of the art class should correlate closely
with the sewing work.

Others may desire to take up the problems of garment making.
The latter portion of this section deals entirely with that phase of the
work introducing some of the elementary principles of the subject and
employing them on garments which do not necessitate absolutely
accurate use of patterns.

In order, however, to lead the student to the proper understanding
of the subject of patterns and their functions, references are made to
Chapter IV, and, even though the students may be using commercial
patterns for the projects which they are making, they should turn to
these references and acquaint themselves somewhat with the subject
of patterns and how they are drafted so as to use them more in-
telligently.

157

SASH CURTAINS

MATERIALS.

Lawn (Chap. I, Par. 23) or
Mull (Chap. I, Par. 26).

Curtain material the length
of window plus 4I2" for
hems.

Thread No. 70.
Needle No. 8.

INTRODUCTORY STATEMENT.

Sash curtains are used to cover the lower sash of windows,
usually in the bathroom, kitchen and pantry. They should be made
long enough to clear the window casings, rather than to hang below
them. An extra heading about 1" deep may be basted in the curtain
when it is made, to provide for shrinkage when the curtain is
laundered.

As curtains should soften the light, rather than exclude it, sheer
materials should be used in making them; white lawn, cheese cloth,
voile and marquisette are the materials commonly used. The latter
three are suitable for stenciling. The dotted mulls and embroidered
muslins make very pretty curtains and require no further decoration.

The curtain presented in this lesson shows the method ordinarily
used in making sash curtains. The heading at the top is used to
improve its appearance.

References:

Homes and Their Decoration. French, ^^^^itco^1b & Barrows,
Home Decoration, Warner. Doublcday, Page & Co.

158
SUGGESTIONS FOR OPTIONAL MODIFICATION.

EMBROIDERED MULL SASH CURTAIN.
No. 1. Although the dotted mull makes a pretty sash curtain
without further decoration, the row of dots above the hem may be
embroidered in colors very effectively with the satin stitch, to form
a border across the lower part of the curtain.

HEMSTITCHED SASH CURTAIN.
No. 2. This is one of a pair of curtains; it is finished with a
hemstitched hem on one side and the lower end; the material used
is curtain voile, ^^^^ CURTAINS

No. 3. The edges of this dotted mull curtain are finished with
narrow hems and colored rickrack. It makes a pretty bathroom

curtani. STENCILED SASH CURTAIN.

No. 4. The stenciled border placed above the hem of this curtain
makes a very pretty effect.

159
WORKING DIRECTIONS FOR SASH CURTAIN

PREPARING MATERIAL.

As curtain material shrinks considerably when laundered, it is
advisable to shrink it before making it into curtains. To do this,
wet the material thoroughly, hang it straight on the line until par-
tially dried, then iron it dry. Measure the window on which it is to
be hung and allow the amount desired for the hems at the top and
bottom. If you do not shrink the material, allow %" extra length for
shrinkage, 4y2" were allowed for hems on the curtain for this lesson.

Straighten one end of the material (Chap. II, Par. 102) and meas-
ure down from this end on one selvage the length of the curtain.
Draw a thread crosswise and cut on the line. If more than one cur-
tain is to be made, cut out the others in the same manner. (If Ihey
are to be hung in pairs or in the same room, be careful to make them
exactly the same length).

FINISHING THE LONG EDGES OF THE CURTAIN.

As the sash curtain is to be made the full width of the material,
the selvages may be used to finish the long edges, if desired. If there
are to be two sash curtains at the window the inside edges of each
curtain may be finished with narrow lace. To finish the edge with
lace, cut off the selvage, fold, baste, and stitch a narrow hem in place
on the sewing machine. Overhand the lace on this edge (Chap. II,
Par. 112), or baste it flat on the edge and stitch it on the sewing ma-
chine (Chap. II, Par. 164) (make the top tension a little loose to
prevent puckering on the edge), or sew with running stitches. The
outside edge may be finished in like manner, if desired.

The long edges can also be finished with hemstitched hems.
These may be made P/o" wide. To make them, trim off the selvage,
and follow the directions for single or double hemstitching (Chap.
II, Par. 115 or 116).

The selvages are left on to finish the long edges of the curtain
shown in the illustration.

FINISHING THE LOWER END.

The lower end of the sash curtain is usually finished with a hem
about 2" wide. This hem may be stitched on the sewing machine,
hemstitched, or finished with featherstitching (Chap. II, Par. 121, 122,
123). If the end of the curtain is finished with rickrack, or lace, the
same as the long edges, the hem should be made narrow^ to corres-

160

pond with the hems on the edges; the lace or other trimming should
be sewed on in a continuous seam around the bottom and adjoining
edges. The hem on the curtain shown in the illustration is made 2"
wide; it is sewed in place with machine stitching.

MAKING THE CASING AT THE TOP.

The hem at the top of the curtain may be made ^vide enough to
form a casing through which to run the curtain rod (about Mj" to %"
wide). A casing is usually placed in the hem, howevfer; the remainder
of the hem is to form a heading. To make the top hem with a casing,
fold and baste a hem the width desired at the top of the curtain (2y2"
is allowed on the curtain in this lesson). If the material has not been
shrunk, measure up from the basted edge of the hem the desired
width for a temporary casing (%")• Make a row of running stitches
parallel with the edge of the hem. Measure up V2" above this and
make a row of machine stitching for the top of a permanent casing
parallel with the edge of the hem. Stitch the hem in place, or sew in
place with hemming stitches (if the material has been shrunk, make
the hem %" narrower and make only one casing).

161

LAUNDRY BAG

MATERIALS.
Denim (Chap. I, Par. 14).

2/3 yard denim.

1 ruler 12" long or piece of

window stick.
14" cotton tape.
1 yard mercerized braid.
White embroidery cotton.
Embroidery needle.
Thread to match denim.

INTRODUCTORY STATEMENT.

As the laundry work of the household is usually done but once
a week, a place should be provided for the soiled clothes which collect
during this time. In many houses a laundry chute is provided which
carries the clothes to a receptacle in the laundry. If you have no
laundry chute, laundry bags, which can be emptied at the end of the
week, or on wash day, will be found very convenient.

As the laundry bag will have to sustain considerable weight, it
should be made of firm material and should be large enough to hold
at least a week's laundry for one person; galatea, cretonne, denim or
Indian Head are very satisfactory materials to use.

While a bag with draw strings at the top might be used, it is
somewhat inconvenient to open the mouth of such a bag each time
you wish to place a soiled garment in it.

The laundry bag shown in this lesson will be found very con-
venient as the top is always open ready to receive the soiled clothes.
The simple design used in ornamenting it is in keeping with the pur-
pose of the bag.

References:

Care of the House, Clark. Whitcomb & Barrows.
Laundry Work in Theory and Practice, Marsh.

162

SUGGESTIONS FOR OPTIONAL MODIFICATION.

CRETONNE LAUNDRY BAG.

No. 1. This bag is made with draw strings to close the top.
is made of cretonne and is 18" wide and 27" long.

LAUNDRY BAG.
No. 2. This laundry bag is shaped like an ordinary school bag but
is somewhat larger. It is held open at the top with a large embroid-
ery hoop over which the material is hemmed, and slightly gathered.

DARNING BAG.

No. 3. This bag is made of cretonne. One side has a small piece
gathered on it to form a pocket for the darning cotton. The other
side has a flap sewed on it; under this flap, oblong pieces of outing
flannel are fastened for the darning needles. The draw strings are
run through ivory rings.

WHITE LAUNDRY BAG.
No. 4. This laundry bag is made the same as No. 2 except that
it is about twice as large. It is ornamented with a band of lilet
crocheted insertion.

163

WORKING DIRECTIONS FOR LAUNDRY BAG

PREPARING MATERIAL.

Straighten one end of the material (Chap. II, Par. 102); measure
down on the selvage 24" (the length of the laundry bag); draw a
thread crosswise and cut on the line. This bag consists of two pieces,
the front and the back; each is made from one-half of this strip of
material. To divide the material, fold the selvage edges together
evenly; crease on the fold formed and cut on the crease. As the front
piece is shorter than the back piece, cut a strip 1%" wide off one
end of it.

SHAPING THE FRONT OF THE BAG.

You will notice in the illustration that the front of the bag is
curved out at the top. To do this, fold the front piece in the center,
lengthwise; pin it to keep it from slipping. On the fold, measure
down from one end 8" (call this the top); mark the point with crayon
or a pin, measure in from the unfolded edge on the same end of thfe
material, 2V2"; mark with a pin or crayon. With a piece of sharp-
ened crayon connect the two points with an inward curving line;
following this line, cut out the curve. '

FACING THE CURVED EDGE.

The curved edge is faced with a bias strip I14" wide. This strip
may be cut from the material which was cut out of the curved end
of the front. Cut, and if necessary, join several bias strips to make a
facing long enough to reach around the curve (Chap. II, Par. 143-144).
To sew on the bias facing, let one end extend slightly above the curve;
place one edge even with the edge of the curve on the right side of
the material and baste it in place with even basting, holding it slightly
full around the curve. Turn the facing to the wrong side, baste along
the stitched edge, turn under the other raw edge, baste it in place and
stitch, or hem by hand. (Stretch it around the curve if necessary to
make it lie flat).

JOINING THE BAG.

Place the right side of the front and the back of the bag together
with the straight edges even. Baste and stitch these edges together
with a half-inch seam. Overcast the raw edges.

TO FORM CASING.

At the top of the bag a casing is to be formed to hold a stick on
which the fullness of the bag is adjusted.

164

ATTACHING CASING TO THE STICK.

Fold the top of the piece toward the front 1%", turn in the raw
edge, baste and stitch in place. This casing is simply a wide hem.
In order to hold the gathers in place, it is necessary to fasten the
ends of the casing to the stick. To do this, cut notches Vi" deep on
the top and bottom edges of the stick V2" from each end. "Wrap the
stick several times with thread in these notches. Fasten the thread
securely. Turn under the edge and sew one end of a piece of cotton
tape 14" long to the thread in first notch; bring it over both ends of
the stick to the other threads w'rapped in the notches and sew it
securely.

Insert the stick in the casing and overhand the ends of the casing
catching the stitches through the tape on the ends of the stick. Adjust
the fullness evenly on the stick,

THE HANGER.

Make a loop at each end of the mercerized tape and sew it to the
top corner of the laundry bag to form a hanger, as shown in the
illustration.

THE DESIGN.

The letters for the design may be drawn on a piece of paper and
transferred to the laundry bag with carbon paper; trace over letters
with sharpened crayon. A commercial pattern may be used if desired.
If a commercial pattern is used, select one in which the design is
stamped in yellow (the yellow design will show more clearly on dark
material). Work the letters with the satin stitch (Chap. II, Par. 131).

165

PILLOW CASE

MATERIALS.
Muslin (Chap. I, Par. 27).

1 yard muslin, width desired
for length of pillow case,
or

1 yard pillow tubing.
Thread No. 70.
Needle No. 8.
Embroidery cotton.
Padding cotton.
Embroidery needle.

INTRODUCTORY STATEMENT.

Pillow cases are counted among the household necessities. They
not only preserve the life of the pillows by protecting them from
wear, but also make it possible for the head to have a clean place on
which to rest, for they can be changed as frequently as necessary.

Pillow cases may be made from unbleached muslin, the muslin
being formed into a bag-like case, with a seam at one end and side
and a hem at the open end. Cheap, white muslin may be used in the
same manner. The better grades of muslin are woven into pillow
tubing of different widths. Linen is also used in making fine pillow
cases; for pillow^ cases on which fine handwork is to be done, linen
is especially desirable.

While pillow cases may be made with a machine hem, the pillow
case shown in this lesson is an example of one of the attractive ways
in which they may be ornamented with handwork.

References:

The Furnishing of a Modest Home, Daniels.
Some Principles of Every-day Art, L. F. Day.

Atkinson, Meitzer & Grover.
Scribner.

166
SUGGESTIONS FOR OPTIONAL MODIFICATION.

EMBROIDERED PILLOW CASE.

No, 1. The end of this pillow case is finished with a fancy scal-
loped edge. The embroidered design is worked with the satin stitch.

FANCY PILLOW CASE.

No, 2, Coronation braid may be combined with crocheting
stitches to form a band of insertion; this makes very attractive trim-
ming for a pillow case. The monogram placed above the insertion
is embroidered with the satin stitch,

FANCY PILLOW CASE,

No, 3. The end of this pillow case is finished with narrow cro-
cheted edging. The monogram placed above it is worked the same
as in No. 2.

FANCY PILLOW CASE.

No. 4. The crocheted insertion set above the hem of this pillow
case was made on a hair pin; it is called hair pin lace. The lower
edge of the hem is finished with a crocheted scallop.

167
WORKING DIRECTIONS FOR PILLOW CASE

PREPARING MATERIAL.
Straighten the ends of the material (Chap. II, Par. 102).

JOINING SEAMS.

If a straight piece of muslin is used for the pillow case it will
be necessary to join it on one side as well as the bottom. The most
desirable way to join the side of the pillow case is to lay the two
selvage edges together evenly, baste, and stitch them with a %," seam,
or turn the selvages back about i/4" and overhand a seam. The bot-
tom of the pillow case should be finished with an overcast seam, or
stitched on the sewing machine. Fold the material in the middle
making the selvage edges exactly even (to form the side seam), stitch
the side and the bottom making it a Vi" seam; overcast the raw edges
at the bottom. These edges may be joined by hand if desired. To
do this, turn the edges back i/4" on wrong side of the material and
make an overhand seam (Chap. II, Par. 110). Overcast the edges in
the same manner as for the stitched seam.

If pillow tubing is used, make a ^A" seam at the bottom only.
Stitch with the sewing machine, or overhand as suggested above.
Overcast the raw edges.

FINISHING THE OPEN END.

The open end is finished with a hem from 2" to SV^" wide. This
hem may vary in width to suit personal taste. It may be stitched on
the sewing machine or hemmed by hand. The pillow case shown in
the illustration is finished with a double hemstitched hem. To make
this hem, measure up twice the width desired for the hem plus ^A" for
the first turning; draw a thread. Draw three or four more threads
toward the center of the pillow case, fold and baste the hem in place
even with the edge of the drawn thread (Chap. II, Par. 103); double
hemstitch in place (Chap. II, Par. 116).

TO SET IN INSERTION (IF DESIRED).

It may be desirable to trim the pillow case above the hem with a
band of crocheted insertion or with tatting. To do this, after straight-
ening the edge of the material on the end of the pillow case and
sewing up the side seam, cut a strip ofT the end twice as wide as the
width desired for the hem, plus V2" for under turnings. Oil the piece
cut off turn under the raw edges Vk" toward the wrong side, fold
these edges together evenly and baste with even basting. Make a

168

narrow hem on the open end of the pillow case, turning it to the
wrong side. Join the insertion at the end if necessary and overhand
one edge to the end of the pillow case (Chap. II, Par. 112). The part
cut off is to be set onto the insertion. Be careful to keep the seam,
of this piece even with the side seam of the pillow case ; overhand the
lace to the basted edge of this strip. Remove bastings.

THE INITIAL.

The initial used on the pillow case should be rather large; that
is, from 2" to 2y2" long. It is placed about V2" to 1" above the hem,
in the center of the pillow case. You may use a commercial pattern,
or, you may design your own letter. If a commercial pattern is used,
place it rough side down, on the desired position and press it with a
hot iron. Remove the pattern and work the initial. If you use your
own design, transfer it with carbon paper. Use carbon paper a tritle
larger than the initial; place it carbon side down on the pillow case,
place the initial over it, pin in several places to keep it from slipping;
with lead pencil trace around the initial. Remove the pattern and
carbon paper and work the design.

To work the initial, pad it, rounding it slightly in the center, and
work it with the satin stitch (Chap. II, Par. 131).

169

SOFA PILLOW COVER

\ .». ••• •?•

, • • « * •,■■■ '::,» .

1^ w W :

' j V vy '<'

MATERIALS.

Linen (Chap. I, Par. 40), in
natural color.

32" art linen, 22" wide.
32" linen fringe.
Embroidery cotton.
Embroidery needle.
Thread No. 70.
Needle No. 8.

INTRODUCTORY STATEMENT.

The sofa pillow is particularly suggestive of comfort and should
be used for that purpose rather than for an ornamental one. How-
ever, if its cover is made of pretty cretonne, or decorated with hand
embroidery which harmonizes with the color scheme of the room, it
will add a decided touch of beauty to it. Harsh, stiff materials should
be avoided in making a pillow. Any kind of decoration which makes
it uncomfortable for the head to rest upon, is in poor taste.

A pillow with a bright cover is suitable for a room with plain
curtains and rug which needs a bit of color to brighten it. If the
curtains, the wall paper, and the rug have considerable design in
them, the sofa pillows should be plain or they will give a spotty ap-
pearance to the room.

In selecting your material and designs for this pillow carefully
consider the room in which it is to be used.

References:

Home Decoration, Ohio State University Extension Bulletin.

Art and Economy in Home Decoration, Priestmirn. \\Tiitcomb & Barrows.

170

SUGGESTIONS FOR OPTIONAL MODIFICATION.

CRASH PILLOW COVER.

No. 1. This pillow cover is made about the same as the one
described in the lesson; the embroidered design is different, but the
same stitches are employed in making it.

COLLEGE PILLOW.

No. 2, This pillow is made of two shades of felt (the college

colors). The designs and letters are cut out of felt and stitched to

the top of the cover. The edges are laced together with strips of

the felt

COLLEGE PILLOW.

No. 3. This pillow is also made of felt; the college colors are
used, but are combined in a different manner than in No. 2.

MONOGRAM PILLOW.

No. 4. On this felt pillow cover the monogram of the college cut
out of felt is used to decorate the top. The edges are laced together
with cable cord.

171

WORKING DIRECTIONS FOR SOFA PILLOW COVER

PREPARING MATERIAL.

Straighten one end of the material (Chap. II, Par. 102), measure
down on the selvage 32" (twice the width of the pillow).

DRAWING DESIGN.

The pillow cover should be embroidered before the seams are
sewed together. The design shown in the illustration is intended
only as a suggestion. Each girl should draw a suitable design for
her own pillow (this design should be worked out in the drawing
class). When drawing a design for a pillow cover keep in mind the
purpose which the pillow is to serve. The use of beads, heax'y braid
and elaborate embroidery are not in good taste for a sofa pillow.
You should plan a simple design, but make it attractive by doing it
very carefully.

TRANSFERRING THE DESIGN.

After you have designed your pattern transfer it to the proper
position on the material. To do this, place a piece of carbon paper,
carbon side down on the pillow cover, pin pattern over it, being sure
to pin it sufTiciently to avoid slipping. Trace the pattern with a lead
pencil. Remove the pattern and carbon paper.

The sofa pillow in this lesson is worked with the satin stitch
(Chap. II, Par. 131) and outline etching stitch (Chap. II, Par. 125).
Consider the color scheme of the room in which this sofa pillow is to
be used, then select colors that will be suitable for your embroidering.
Work this design very carefully for this is the portion of the work
from which your skill will be judged.

JOINING THE SEAMS.

As this pillow cover is to be made of one piece of material, fold
the two edges together evenly with the wrong side out. On one end
baste and stitch the edges together with a V^" seam (the other end is
to be left open to put in the pillow). Also stitch the long side with
a y^" seam, turn the pillow cover right side out.

TO SEW ON THE FRINGE.

As the fringe is not used entirely around the pillow, cut it into
two equal parts. Finish the ends with narrow hems (Chap. II, Par,
114) making each piece when hemmed just long enough to finish one
end of the pillow as shown in the illustration. Lay the straight edge
of one piece of frint^e flat on one end of the pillow allowing it to

172

overlap about Yz" (be sure it overlaps evenly across the end of the
pillow). You should pin it on, baste it in position if necessary. Sew
the fringe onto this edge with fine running stitches. Make a second
row of running stitches parallel to the first on the extreme edge of
the pillow cover.

NOTE: The opposite end of the pillow cover is left open to
receive the pillow. The fringe on this edge must therefore be sewed
only to the top portion of the cover.

Turn in the edge of the top side of the cover about 14". pin or
baste the fringe on the upper side of this edge and with running
stitches sew it in place as you did on the other end.

PUTTING IN THE PILLOW.

Any pillow which will fit the cover may be used. Slip the pillow
into the opening and overhand the edges together neatly under the
fringe.

173

TABLE COVER

MATERIALS.
Linen (Chap. I, Par. 40).

1^2 yards Art linen 18" to

22" wide.
3 shades embroidery cotton.
Black embroidery cotton.
Embroidery needle.
Linen colored thread for

hemstitching.

INTRODUCTORY STATEMENT.

As the top of a library table is usually made of cabinet wood
with a fine finish, it should be protected from mars and scratches.
For this purpose some kind of table cover is quite necessary. The
light silk Oriental rugs, which are very expensive, are sometimes
used for this purpose; leather also makes an attractive cover, but
the table covers made of strips of natural linen or crash are cheap,
durable, easily cared for and may be made very attractive with dif-
ferent kinds of handwork.

The table cover shown in this lesson is an example of one made
of linen finished at the ends with fringe, and decorated with a hand
embroidered design. The shades of brown, used in working this
table cover will make it harmonize very nicely with a room in which
the prevailing tone is brown.

References:

Home Economics, Parloa. Manual Arts Press.

Household Arts, Mrs. Candace Wheeler. Manual Arts Press.

174

SUGGESTIONS FOR OPTIONAL MODIFICATION.

STENCILED TABLE COVER.

No. 1. This table cover is made of a strip of linen crash; it is
finished with a double hemstitched hem at each end; it is made long
enough to hang over the end of the table about 6". The colors used
in the stencil are soft, subdued shades of dark green and red; these
colors will not be out of harmony with the color scheme of almost
any room in which it might be used,

GAME TABLE COVER.

No. 2. This cover may be made of white linen, white poplin or
Indian head. It is made to place on a game table for the purpose of
protecting the sleeves of the players. Tlie tapes sewed on near the
corners are used to tie the cover to the legs of the table. The band of
filet crocheting in the center of the cover is buttonholed in place.

175

WORKING DIRECTIONS FOR TABLE COVER

PREPARING MATERIAL.

If the material is purchased 18", 20" or 22" wide (which are the
usual widths) it will be used without removing the selvages. If art
linen is not used, and the cover is cut from wider material (if there
is no selvage) carefully straighten the edges of the material (Chap. II,
Par. 102) making the piece the same width at each end. Finish both
edges with a small flat hem which may be made either by hand
(Chap. II, Par. 114), or stitched on the sewing machine (Chap. II,
Par. 164).

The length of the cover may be varied to suit the size of the table
upon which it is to be used, about a yard and a half is a convenient
length. It should be long enough to overhang a few inches at each
end of the table, preferably so the entire design will be on the part
that overhangs.

MAKING THE FRINGE.

Draw a thread and straighten the end (Chap. II, Par. 102). Meas-
ure up from this straightened end as far as desired for the length of
the fringe (about 4" or 5" will be satisfactory). Draw several threads
(do not turn a hem) ,hemstitch across the end making the stitches
catch in the main part of the cover (Chap. II, Par. 115), pull out the
remainder of the threads below the line of hemstitches. This will
leave all of the warp threads hanging free to form the fringe.

TYING THE KNOTS.

These threads are to be divided into equal groups and tied in
knots as may be seen in the illustration at the front of the lesson.
Divide the threads into groups of about eight threads each. Com-
mencing at one edge, tie the first group in a knot with the fourth
group letting the knot come down about 1". Tie the second group
and the sixth group in similar manner, then the third and eight group,
then the fifth and tenth, then the seventh and twelfth, then the ninth
and fourteenth and so on across the end of the cover.

These groups of threads should be tied in such a way as to form
an even row of knots equally distant from the hemstitching. If
desired, other designs may be worked out by dividing the threads in
diflerent groups and tying in different ways.

Make the fringe on the other end and tie the knots in exactly
the same way.

176

THE DESIGN.

The table cover is to be decorated with an embroidered design.
This may be drawn free-hand on a piece of paper, afterwards trans-
ferred to the cover. This method is recommended as it will give an
opportunity of using in the sewing class some of the things worked
out in the study of drawing. After working out the design, transfer
it to the material by using a carbon paper. Place the carbon side of
the paper next to the linen, pin the design over it in sufficient number
of places to prevent slipping, then carefully trace the design with a
pencil. Remove pattern,

A commercial pattern may be used if preferred; place the rough
side of the pattern next to the goods and press with a hot iron. Out-
line all of the parts of the design with the outline etching stitch in
black (Chap. II, Par. 125). The larger parts of the embroidery pattern
are to be heavily padded. This padding should be carefully done so
as to give a rounded appearance to the finished work. The embroid-
ering is done with the satin stitch (Chap. II, Par. 131). The opposite
end of the cover may be embroidered with similar design.

177

GUEST TOWEL

MATERIALS.

Huckaback (Chap. I, Par. 20

or 47) or
Damask (Chap. I, Par. 13 or

45).

% yard linen toweling.
Embroidery cotton.
Embroidery needle.
Padding cotton.
Thread No. 70.
Needle No. 8.

INTRODUCTORY STATEMENT.

As the name indicates, the guest towel is designed especially
for the use of guests. It is made smaller than the ordinary towel;
when a towel is likely to be used only a few times it is very con-
venient, because it is easily laundered.

The guest towel should be made of the same kind of material
as other fine towels, woven in a narrower width; huckaback or
damask linen are the materials generally used. The ends are usually
finished with double hemstitching, embroidered scallops, crochet or
some other kind of handwork; the body of the towel is also frequent-
ly embroidered or decorated in some way.

The guest towel shown in the lesson is finished with double
hemstitched hems and marked with an embroidered initial. Cross-
stitch work is used very effectively in embroidering this kind of towel.

References:

Home Problems from a New Stiindpoint, C. L. Hunt.
Arrangement of Home F'urnlshings, Cornell Bulletin, Ithiaca, N. Y.

178
SUGGESTIONS FOR OPTIONAL MODIFICATION.

THE STORK GUEST TOWEL.

No. 1. The ends of this towel are finished with embroidered
scallops. The stork design is worked (on one end only) with French
knots in different colors.

FANCY GUEST TOWEL.

No. 2. This towel is finished with double hemstitched hems at the
ends. Tlie lower edge of one end is finished with a narrow crocheted
edging; the lower edge of the other hem is finished with the same kind
of edging combined with a square of filet lace in each corner.

FANCY GUEST TOWEL.

No. 3. The ends of this towel are finished with hemstitched hems
on the edges of which narrow crocheted lace is sewed as shown in
the illustration. pANCY GUEST TOWEL.

No. 4. A band of tatting worked in a delicate color is placed
above one hem of this towel. The other hem is finished with hem-
stitching. The embroidered initial corresponds with the color of
the tatting.

179

WORKING DIRECTIONS FOR GUEST TOWEL

PREPARING MATERIAL.

As you are using regular toweling which has selvage edges you
will not need to give them any further attention. Straighten one
end of the towel (Chap. II, Par. 102) from this end measure down
on the selvage the length desired for the towel (% yard is used in
this lesson). The length of the towel may be varied but it should
always be kept in proportion to its width.

PREPARING HEMS.

The ends of this towel are to be finished with double hemstitched
hems 1" wide. Measure up from one end 2^4" (double the Width of
the hem, plus the first turning). Draw a thread. To prepare for the
hemstitching draw three or four more threads toward the center of
the towel. Fold, pin and baste the hem in place with even basting.
Double hemstitch the hem (Chap. II, Par. 116). Finish the other
end of the towel in the same manner.

NOTE: A very attractive towel may be made by substituting a
hem of colored linen for the hem of white linen. This may be set
on with so-called machine hemstitching. Some machines are pro-
vided with an attachment for hemstitching, which may be used for
this purpose. The following method may be used satisfactorily on
any machine: Lay about two thicknesses of blotting paper on the
end of the towel, even with the edge. Lay a strip of colored linen
(twice the width desired plus y>" for underturnings) over this with
its straightened edge even with the end of the towel.

Baste, and using a loose top tension on the sewing machine,
stitch the two edges together (stitching through the material and the
blotters) with a Vi" seam (Chap. II, Par. 164), remove bastings, trim
the blotter very close to the seam, or bend it and tear it away along
the line of stitching. Pull the other edge of the blotting paper away;
this will leave the two materials sewed together with very loose
stitches.

Turn the raw edges back from the stitching onto the material,
pulling the loose stitches between the two pieces of material straight.
I'inish the raw edge turned back on the towel by turning it under
and sewing it down with hemming stitches (Chap. II, Par. 114). Turn
in the outside raw edge of the colored piece and fold it over to the
hemstitched edge. Baste it in place and hem down or stitch on the
edge with the sewing machine.

180

THE INITIAL.

An Old English letter was used for the initial on the towel shown
in this lesson. For your own towel you may select any style initial
you desire (the initial should not be more than 11/2" long). It should
be placed above the hem about 1" in the center of the towel. If you
have designed your own initial, transfer it with carbon paper. To
do this, cut a piece of carbon paper a trifle larger than the initial,
place it carbon side down on the towel, pin the pattern for the initial
over this and draw around it with a lead pencil. Remove the carbon
paper and pattern and work the initial.

If a commercial pattern is used transfer it to the towel by laying
it rough side down in the position desired on the towel and pressing
it with a hot iron.

Pad this initial, before working it, rounding it a little in the cen-
ter. Work it with the satin stitch (Chap. II, Par. 131).

181

BUNGALOW
APRON

MATERIALS.

Gingham (Chap. I, Par. 19)
or

Percale (Chap. I, Par. 31), or
Chambray (Chap. I, Par. 9).

3 yards of gingham, 30" or
36" wide.

1 2/3 yards rickrack.

Thread No. 70.

Needle No. 8.

Pattern for kimono night
gown (drafted or commer-
cial).

INTRODUCTORY STATEMENT.

The over-all or bungalow apron is very desirable to put on over
the Sunday dress, or it may even be worn as a house dress.

This apron may be made of calico, percale, gingham, or similar
wash materials. If it is to be worn in the kitchen when doing work
which would soil a light colored apron, dark colored material will
be most serviceable; light colored aprons may be saved for ironing
day, baking day and meal time when you wish to look particularly
fresh and clean.

In dark colors there are many good patterns which may be
selected. The small blue and white checked, black and white striped
materials, the plain blue chambrays or ginghams will make up at-
tractively in the design given in this lesson. Rickrack used to finish
the neck and sleeves of the apron will brighten it and add to its
appearance.

References:

Textiles, Dooley. D. C. Heath & Co.

A Dictionary of Calico Printing, O'Neill. Baird & Co., Philadelphia.

182
SUGGESTIONS FOR OPTIONAL MODIFICATION.

BUNGALOW APRON.

No. 1. This apron is made by combining a kimono waist with a
plain gored slvirt, at the waist. A belt made long enough to tie in the
back is stitched across the front of the waist line. The apron is
trimmed with bias bands of a contrasting color. This apron may be
made from a commercial pattern; patterns drafted from the upper
part of kimono night gown and the plain three or five gored skirt
may be used.

BUNGALOW APRON.

No. 2. This apron is very similar to the one described in the
lesson, except that it is opened in front and the neck is finished with
a plain rolled collar instead of rickrack. It may be made from a
kimono night gown pattern. It is trimmed with bias tape of a con-
trasting color and the front opening is laced together with cotton tape.

183
WORKING DIRECTIONS FOR BUNGALOW APRON

PREPARING MATERIAL.

Shrink the material before making. To do this, wet it thoroughly,
allow it to partially dry then iron until thoroughly dry.

CUTTING OUT THE APRON.

Use a drafted pattern for a kimono night gown (Chap. IV); or
if desired, a commercial pattern may be used. If a conunercial
pattern is used, study carefully the guide chart and all directions
w^hich accompany it. This apron is made without seams on the shoul-
ders, the back and front being cut alike, hence one-half the pattern
for the front of the kimono night gown will be sufficient to use in
cutting it out. To prepare the material for cutting, fold it lengthwise
in the center, making the selvages even; fold it crosswise in the cen-
ter. Lay the straight edge, or center front of the pattern on the
lengthwise fold of the goods with the top of the shoulder even with
the crosswise fold. Pin it in several places to keep it from slipping.
Cut out the apron. (Do not cut the cloth at the top of the shoulder,
or on the center fold). Remove the pattern.

JOINING SEAMS.

The only seams in this apron are the under-arm seams. These
may be made French seams. To make them, baste the edges of the
material together on the right side and follow directions for making
a French seam (Chap. II, Par. 137).

FINISHING NECK, SLEEVES AND BACK.

As this apron is opened in the back, you may cut the back piece
in two on the center crease. Lay a hem Vo" wide on each edge; baste
and stitch in place. (If necessary face it by sewing a strip 1" w^ide
on the edge and, turning it back on the wrong side like a hem, finish
it in the same manner). Try on the apron; pin it together at the back;
cut out the neck the desired shape; see that the sleeves are the
proper length. (If they are too short, lengthen them by setting on
an extra piece of material; if they are too long, cut them off to the
length desired.) While you have the apron on, it may be hung, that
is, evened around the bottom. To hang the apron, decide on the dis-
tance you desire to have it from the floor. Stand on a table and have
someone turn up the bottom of the apron exactly even all the way
around using a skirt gauge or a yard stick. Remove the apron, lay a
narrow hem around the neck and around the bottoms of the sleeves;

184

baste in place but do not stitch. If rickrack is used to finish the edge,
baste it on the wrong side, over the hem. Join it on the sleeves with
a felled seam. Turn under the ends in a narrow hem at the neck and
stitch it in place with two parallel rows of machine stitching.

THE HEM.

The hem at the bottom may be made the width desired; about 4"
is a good width. Fold the hem on the line marked when the apron
was hung. With a cardboard gauge (a strip of cardboard Vz wide
and the length that you desire the width of the hem) used as a guide
trim off the material of the hem making it exactly even; turn under
the raw edge, pin and baste in place. Extra fullness at the top of
the hem may be removed by laying small pleats in it. (Turn all
the pleats in the same direction.) Stitch the hem in place.

THE BELT.

To make the belt, use the material cut from the sides; if nec-
essary, to make the belt long enough, piece it in the center. It may
be made long enough to allow the ends to lap in front, or it may
button together in the back. Make it about 3" wide. It may be made
double, or the edges may be finished with narrow hems and rickrack,
the same as the neck and sleeves. It should be fastened to the apron
with a vertical row of machine stitching.

FASTENINGS.

The apron is fastened in the back with buttons and buttonholes-
(Chap. II, Par. 135-136). These may be placed about 4" apart and may-
extend about 6" or 8" below the waist line.

The belt should be fastened together with one button and button-
hole if lapped in front; if lapped in the back, it should be fastened
together with two.

185

COOKING APRON

(

^^^^^^H| \

^^^^^^^^^^^^^^^^1

^^^^^^^^^^^v

^^^^1

«|Bmk*.'!

^^^^^v

1^^^

,. if HI

MATERIALS.
Long Cloth (Chap. I, Par. 24).
1 piece long cloth twice as long as Thread No. 70.
the skirt length plus 1 yard for 4 pearl buttons,
bib and 9 " for hem. 1 yard drafting paper for pattern.

INTRODUCTORY STATEMENT.

In order to protect their dresses while at work in the cooking
Iaborator5% teachers usually require the girls to wear some sort of
cooking apron.

As white gives a pleasing impression of cleanliness, it is most
commonly chosen for this purpose. White cambric, percale or any
smooth finished, firm white material may be used. There are a
number of different ways of making cooking aprons, but if a uniform
pattern is chosen it gives a most attractive appearance to the class.

References:

Hints on Choosing Textiles, Cornell Bulletin, Ithaca, \. Y
Saving Strength, Cornell Bulletin, Ithaca, N. Y.

186
SUGGESTIONS FOR OPTIONAL MODIFICATION.

GORED COOKING APRON.

No. 1. The skirt of this apron is gored. It may be made from
a five gored commercial pattern or a drafted pattern. The band is
made 2V2" wide, and the straps, which cross in the back and button
at the band, are made 2" wide. This bib is finished with an inch hem;
it is made TVo" wide at the top and QV^" wide at the bottom.

COOKING APRON.

No. 2. The skirt of this apron is made the same as in No. 1. The
bib is made of one piece of material, a half pattern for which may be
cut free-hand. To do this, place the straight edge of a piece of paper
on the center front of the waist, curve the neck and shape the pattern
on the sides and back as in the illustration. When the pattern is
made, the front edge should be gored ofT about W at the top, other-
wise the neck of the apron will fall forward in a pleat. When worn,
the back of this apron may be pinned in place with a beauty pin to
keep it from slipping up on the neck.

187
WORKING DIRECTIONS FOR COOKING APRON

PREPARING MATERIAL.
Shrink the material.

PATTERN FOR BIR.

Although a commercial pattern may be used for this bib, a free-
hand pattern may be cut. To do this, take a strip of paper one yard
long and the width from the center front of the waist to the shoulder.
Hold it up to the person for whom intended with the straight edge
on the center front of the body; pin it in front and curve out the neck
the width desired. Pin it smoothly on the shoulder and, making it
about 5V2" wide at the bottom, cut a curved line up to within about
6" of the shoulder, as in the illustration. To make the back of the
pattern, crease the edge of the paper so it will make a straight line
down the center back (this will make a bias edge); cut ofT extra
paper %" outside of crease to allow for seams. Curve the back of the
pattern up toward the shoulder as in illustration. Trim ofT even with
the waist line, both back and front.

THE SKIRT.

Make your apron the same length as your dress skirt allowing
41/2" for hems and fitting. Tear off two strips the desired length. Use
one strip for the front gore. It is necessary to make this apron nar-
rower at the top than at the bottom, in order to remove some of the
fullness. To do this, fold the strip lengthwise in the center, pinning it
to hold it in place. At the top, measure in from the selvage to the
center fold, 4". Mark with a pin. Fold over the two selvage edges
forming a slanting fold from the pin to the bottom. Crease firmly
with the thumb nail ; cut on the crease.

In order to make the front gore fit smoothly on the belt it should
be curved out slightly in front. To do this, measure down on the fold
from the top %". Cut an inward curved line from this point to the
top outside edges of the material. Remove pins.

The back pieces of this skirt are made from the other strip of
material. Tear the material in the center, lengthwise. Sew the torn
edges of the back pieces to the front gore with French seams (Chap.
II, Par. 137). (Be careful to make the pieces even at the top.) The
back edges of the apron may be left with the selvage edges for the
finish, or, a 1" hem may be made if preferred.

188

THE BIB.

As you are to use a half pattern for the bib, it must be cut from
a double thickness of material. Fold the remaining material on a
warp thread, making a strip the width of the bib pattern ; lay the cen-
ter front of the bib pattern on the fold of the goods; pin in place
and cut out.

Finish the outside edges and the neck of the bib with a narrow^
hem stitched on the sewing machine. Gather the bib across the bot-
tom (Chap. II, Par. 141). Make a V2" hem on each edge at the back.

THE BAND.

Cut or tear two strips of material 2y2" wide and the length of the
waist measure plus 2" for lapping and underturning. Set the gathers
on the skirt of the apron on the edge of one piece of the band (Chap.
II, Par. 142), allowing the band to extend beyond the gathers about
IV2" at each end. Baste one edge of the other piece of the band on
the opposite side of the gathers making the ends and edges even with
the first piece. Stitch the ends together with a Vi" seam. Remove
bastings. Turn the band right side out and baste. Turn in the raw
edges, adjust the gathers and insert the bib between open edges of
the band, being careful to have center of bib on center of band. Pin
and baste in place. Put the apron on and insert the back pieces of
the bib in the apron band even with the ends, pin in place and remove
the apron and baste the bib in place at the back. Stitch entirely
around the edges of the band.

Place buttons and buttonholes on back of apron as shown in
illustration (Chap. II, Par. 135-136).

Put on the apron and have someone even it around the bottom.
Remove apron, baste along the folded edge of the hem, even it to the
desired width (use a strip of cardboard as a gauge), turn in the raw
edge, stitch in place.

189

BASE BALL
SUIT

MATERIALS.

Flannel (Chap. I, Par. 59).
Muslin (Chap. 1, Par. 27).

Amount of material called
for in the pattern used.

1 yard of 2" linen belting.

About %" yard of Vz" elastic.

Commercial pattern for base-
ball suit.

Silk thread to match ma-
terial.

Buttonhole twist.

INTRODUCTORY STATEMENT.

Baseball is a popular form of athletics in high school. In play-
ing this game it is quite necessary that the boys have suits specially
made for the purpose. Although these suits can be purchased ready
made they may be made much more cheaply at home; they can also
be made very acceptably by the girls in the sewing class. These suits
are generally made of flannel trimmed with a contrasting color; col-
ored outing flannel may also be used.

While they vary somew^hat in a few details, such as the length
of the sleeves or the shape of the collar, the general style of these
suits is about the same. Of course the lettering on the suits will
depend on local conditions; the name of the school, the club or team
will usually suggest suitable initials or monogram.

The suit shown in this lesson is made of gray flannel trimmed
with a similar material of navy blue.

References:

Textiles and Clothing, Watson. American School of Home Economics.
Clothes Moths, U. S. Bulletin, 659.

190
SUGGESTIONS FOR OPTIONAL MODIFICATION.

No. 1. Athletic Shirt.

No. 2. Track Trousers.

No. 1. Girl's Swimming Suit. No. 2. Girl's Gym. Suit.

191
WORKING DIRECTIONS FOR BASE BALL SUIT

CUTTING OUT SUIT.

As the drafting of a pattern for this ball suit would be rather
difficult, you should use a commercial pattern. As the pattern may
vary somewhat in style from the suit shown in the illustration, the
directions given here should be used merely as suggestions. Before
cutting out the suit, carefully study the guide chart and directions
accompanying the pattern. Pin the pattern to the goods to keep it
from slipping. Lay all the parts of the pattern on the material before
beginning to cut. Cut out the entire suit. (If there is no separate
pattern for the lining the pattern for the trousers may be used.)

JOINING SEAMS ON THE SHIRT.

After basting the shoulders and under-arm seams of the back and
front together on the right side, finish them with felled seams (Chap.
II, Par. 138). Baste the seams of the sleeves together on the right
side and finish with French seams (Chap. II, Par. 137). Set the sleeves,
in the armhole with lapped seams (Chap. II, Par. 139).

FINISHING THE PLACKET, NECK AND SLEEVES.

As this shirt opens only part way down the center front, the
opening should be finished with a placket; use the extension placket
(Chap. II, Par. 162); make it lap from left to right. Trim the outside
of the placket %\'ith a strip of flannel 2" wide and 2" longer than the
placket; make it pointed at the bottom. Place three buttons and but-
tonholes as in illustration (Chap. II, Pars. 135 and 136).

The neck in this suit is finished wath a double band of llannel
1" wide.

The bottom of the sleeves are finished with a strip of llannel iy2"'
wide stitched on the right side of the edge of the sleeve.

JOINING SEAMS OF THE TROUSERS.

Make the lining first. Join the parts of each leg, then sew the
two legs together, leaving an opening for a placket about 4" long at
the front end of the seam. Join the trousers in the same way. Place
the lining inside the trousers, with all raw edges inside and baste the
two together along the outside seems of the legs; stitch them together
on these seams with two rows of parallel stitching, about Vi " apart.
Baste and stitch a hip pocket in place.

192

PLACKET FOR TROUSERS.

To finish the opening on the front of the trousers, sew an ex-
tension 1 " wide on the right-hand side of the opening (Chap. II, Par.
162); face the left side with a piece of lining iy2" wide at the top,
tapered ofi" to %" at the bottom; this should extend from the top of
the opening to the crotch of the trousers. To provide an extra flap
for the buttonholes (which do not show on the outside) a piece of
flannel the same size and shape as the facing is first lined, then
stitched with the facing to the trousers.

Three buttonholes are placed crosswise in the facing at regular
intervals, the last one being placed 2" from the top. A button should
be sewed on the under side of this facing at the top. Buttons to cor-
respond with the buttonhole should be sewed on the extension piece
and a buttonhole worked at the top to correspond with the button
opposite.

TO FINISH THE TOP AND BOTTOM.

To pro\ide a place through which to run the leather belt, five
straps about %" wide and 3" long should be sewed perpendicularly
(at suitable distances) to the top edge of the trousers. Face the top of
the trousers with some very strong material. The bottom of each
leg is finished with a V-?" hem, containing an elastic band.

193

PLAIN
PETTICOAT

MATERIALS.
Long Cloth (Chap. I, Par. 24).

1 piece long cloth or rep-
plette, twice the length of
the skirt plus twice the
width of the hem.

1 piece bias tape the length
of waist measure plus 1".

Thread No. 70.
Needle No. 8.

Pattern for 3 piece skirt
(commercial or drafted).

INTRODUCTORY STATEMENT.

Whether a petticoat is worn for warmth in winter or for appear-
ance sake in summer, a good fitting petticoat is absolutely necessary
to the well dressed woman.

The style of the petticoat varies with the constantly changing
styles in dress skirts. When the dress skirts are narrow, the petti-
coats must necessarily be narrow; as the fashion changes to the full
outside skirt, the petticoat must be made wider.

The material used in the under skirt depends upon the purpose
for which it is to be used. In the winter when a plain skirt is worn
under a wool dress skirt, dark colors in materials like silk, moire,
sateen, percaline or similar materials are very desirable, while crepe
cloth, nainsook, long cloth and similar materials are used for sum-
mer skirts.

The skirt shown in this lesson is designed for every day wear
and for this reason is made of repplette, which is easily laundered;
it is made without a rulTle, a plain hem at the bottom edge forming
the only trimming.

References:

Domestic Art in Woman's Kducation, Cooley. Scribner's Sons.
Text Book on Domestic Art, Ingalls.

194
SUGGESTIONS FOR OPTIONAL MODIFICATION.

SCALLOPED PETTICOAT.

No. L This petticoat is made of heavy repplette cloth, the same
as the one shown in the lesson, except that the bottom is finished with
scallops instead of the plain hem. These scallops may be drawn
directly on the skirt, in the following manner: Fold the skirt in
halves lengthwise, then using a tape measure, divide the bottom edge
in thirds marking each division with a pencil or pin. Cut a rounding
curve on a piece of cardboard to lay ofT the scallops on the skirt. Cut
out the scallops and face the skirt with a fitted facing about 5" wide.

SKIRT WITH EMBROIDERED EDGE.

No. 2. This is a plain three-piece skirt made as in No. 1, except
that the bottom is finished with scallops embroidered by hand. These
scallops may be transferred from a commercial pattern; or they may
be laid out on a strip of Manilla paper, using a quarter to outline the
lower edge and a dollar to outline the upper edge. (Any circular
object corresponding in size to these coins may be used.) The scal-
lops are worked with the loop stitch, with coarse embroidery cotton.

195
WORKING DIRECTIONS FOR PLAIN PETTICOAT

PREPARING MATERIAL.

Shrink the material. To do this, wet it, hang it straight on the
line until partially dry, then iron until thoroughly dry (the repplette
may be allowed to dry on the line without ironing).

CUTTING OUT THE SKIRT.

You may use a three-piece skirt dratted according to directions
in Chap. IV; or, if desired, you may use a commercial pattern. If a
commercial pattern is used, study the guide chart for the pattern and
place it on the goods according to the directions given. If you use a
drafted pattern, place the center front of the front gore on a length-
wise fold of the material; pin in place. Place the straight edge of
the pattern for the back gores on the goods parallel with the warp
threads (plan your material as economically as possible). Remember
you must make two back gores. Pin all of the parts of the pattern
in place before cutting the material ; cut out the skirt, allowing seams
if necessary. The notches which indicate the places where the seams
are to be joined should be made very small, or simply marked with
a pencil.

JOINING THE SEAMS.

Felled seams should be used to join the seams of this skirt.
Keeping the gores even at the top, pin together the edges with cor-
responding notches (put the pins in crosswise); baste the seams to-
gether with even basting (Chap. II, Par. 103), making the stitches
small at the top of the seam (it is well to hold the gored edge toward
you when basting to avoid stretching it). When basting the back
gore, leave from 10" to 12" at the top unbasted for the placket open-
ing. After the skirt is basted, remove the pins and fit it carefully,
marking the necessary alterations with pins. Be careful that the
seams over the hips do not slant forward or backward at the top. See
that the skirt hangs straight down the front. If it falls forward at
the bottom, raise the skirt at the back waist line. Be careful not
to make the skirt too tight across the hips. Sit down and see that
it fits easily around the hips when seated. Remove the skirt and
baste again along the line of pins. Remove the pins and try it on
again to see that your alterations are correct. Make the felled seam
(Chap. II, Par. 138). Finish the placket opening with a bound
placket (Chap. II, Par. 161).

196

FINISHING THE TOP.

A skirt may be finished with a belt, but as there are no gathers
in it and the belt is likely to increase the size of the waist line, this
skirt is finished with bias tape. To sew on the bias tape, lay one
edge even with the top of the skirt, baste the edges together in a
narrow seam turned toward the wrong side; fold the tape over to the
WTong side and baste along the turned edge, turn in the other raw
edge and the ends of the tape at the back, baste and stitch entirely
around the edges of the tape. The tape may also be stitched in the
center, to keep it from stretching.

Sew hooks and eyes on the placket about 2" apart, placing one at
the top of the placket to fasten the skirt around the waist (Chap. II,
Par. 133).

THE HEM.

Try on the skirt again and have someone turn up the hem, using
a yard stick, or a skirt gauge to make it even. Remove the skirt,
baste the hem near the bottom edge, remove the pins and using a
gauge (strip of cardboard the desired length) as a guide, make the
hem even; turn under the raw edge, baste the hem in place, laying in
small pleats to take up the extra fullness. Stitch the hem on the
sewing machine. Remove bastings.

197

REVIEW QUESTIONS AND PROBLEMS.

1. For what rooms al home are sash curtains particularly suitable?

2. What kind ol" material would you select for sash curtains?
What is the price per yard at your local stores?

3. What is the function of a laundry bag? About what size
would you make it?

4. What kind of material is generally used for pillow cases?

5. Describe a simple way of making a pillow case, giving only
the points absolutely necessary.

6. Describe a more elaborate way of making a pillow case;
name four or five stitches and processes which may be used to
ornament it.

7. Design and explain how you would make a fancy table cover.

8. What ornamental stitches are often used on guest towels?

9. Work out an original design for an embroidered guest towel.

10. What is a gored apron?

11. What kind of material is suitable for a boy's baseball suit?
About how much material is required?

12. What method may be used to make a name or monogram on
a baseball shirt?

13. Find the cost of a ready made baseball suit as given in any
catalogue of athletic goods and estimate how much you may save
by making it.

14. What kind of material is used for petticoats?

15., What points must be considered in making a petticoat?

16. Name and explain how to make at least four stitches which
you have used most.

17. Do you know of any home work upon which you might use
some of the processes learned at school? Explain.

198

SUGGESTIONS FOR HOME APPLICATION.

1. Examine the window shades at home; notice whether any
of them have become worn at the bottom, or badly cracked from
switching against the window casing. The part which has been rolled
most of the time will be less worn, so by turning the shade opposite
end up the worn part will be hidden when the shade is rolled. Re-
move the shade from the roller; trim off the end if necessary and
turn a hem wide enough to allow the curtain stick to slip through it
easily; cut the hem off at the bottom and tack this end to tLe roller.

2. The life of muslin window curtains, which have become worn
at the lower ends, may be prolonged by cutting off the worn parts
and hemming the good portions for sash curtains. These curtains
may then be used to replace others that are worn out. See if any of
your curtains at home can be used in this way. If they can, ask
permission to do the work.

3. Stenciling makes a very pretty decoration for bedroom cur-
tains, as the design may be worked in colors which will harmonize
with the wall paper or general color scheme of the room. Make a
pair of curtains for your bedroom, or any room at home; decorate
them with a stencil design.

4. Find how the soiled clothes in your home are cared for
before they go to the laundry. If your room is not already provided
with a laundry bag, make one and see that it gets systematic use.

5. Make a set of pillow cases for your room, or embroider an
appropriate initial or monogram on a pair which you already have,

6. A very serviceable pillow cover may be made, finished with
a ruffle of the same material. Make such a pillow, using the hemmer
on the sewing machine in hemming the ruffle.

7. Work out an original design and make a guest towel that
would be suitable for a birthday or holiday gift.

8. Sort over the garments left from the wardrobe of previous
seasons and see whether there are any wash dresses which have been
discarded because they are out of style. The expense of buying new
material may be saved by making over some of these dresses into
aprons.

NOTE: You should use judgment in making over garments, as
it does not pay to spend a lot of time making over a garment which
is badly worn or in which the material is not strong.

9. Our grandmothers would utilize all the worn and discarded

199

garments in making carpet rags which were woven into rugs and
carpets. While this is not done so commonly now-a-days, you may
make a very useful and attractive rug for the bathroom or kitchen
by simply braiding carpet rags and sewing the braids together to
form circular, oblong or oval rugs. To do this, cut cotton material
into strips about 2" wide, or wool material into strips about 1" wide;
sew the ends of the strips together and wind them into balls. Braid
the strips together in a three-strand braid (the braid should be about
1 " wide). Use coarse thread and sew the edges of the braid together
shaping the rug as you sew.

200

INTRODUCTION TO SECTION V

THE projects of this section deal almost entirely with garment
making beginning with some of the elementary ones and leading
up to the more advanced garments which are more fully
dealt with in the next section. The paragraph references dealing with
the elementary stitches, and with the early processes of sewing are
not given throughout this section; such references are given which
present processes that have occurred only rarely in the preceding
sections.

Most of the projects call for the use of patterns. Satisfactory
patterns may be drafted by following the instructions given in Chap-
ter IV, however, it may be found advisable to purchase commercial
patterns for most of the garments. This does not mean that the
subject of pattern drafting may be ignored; it should be taken up
and carefully studied so that every student may get a clear conception
of how patterns are made, what measurements are necessary and
just how they are applied. A careful consideration of this subject is
very essential in order that the girls may be prepared to alter and
modify various commercial patterns from time to time. Styles are
continually changing, but such changes deal for the most part with
minor details; the fundamental principles of pattern drafting and
garment making remain unchanged.

It is not desirable to teach girls a set routine of mechanical
operations whereby they may produce a certain pattern, indeed the
garment may be out of style before they can learn to make it.

If they learn that the pattern is merely a means to an end — that
judgment and good taste are always the all important matters — that
they are striving to acquire ability which wall enable them to take
the means at hand and produce satisfactory results — there need be
little uneasiness as to whether patterns are bought or made.

201

COMBING
JACKET

MATERIALS.

Turkish Toweling (Chap. I,
Par. 35).

1 turkish towel, 22" wide, 48"
long.

2^2 yards ribbon (color de-
sired).

Rope embroidery floss to
match ribbon.

INTRODUCTORY STATEMENT.

A combing jacket, as its name indicates, is a small, loose garment
which can be slipped on and ofT easily during the preparation of the
toilet; many girls and women prefer it to the kimono. It should
be loose and comfortable, as it is w^orn only in the privacy of the
girl's room.

If an elaborate garment is desired, dainty shades of crepe de
Chine or wash silk may be used, and many of the decorative stitches
may be employed, but the art of making exquisite materials from
cotton has reached a stage where we no longer have to use expensive
silk to get beautiful effects. Sheer cotton material may be used and
trimmed with lace, or, if a more serviceable jacket is desired, heavier
cotton materials may be used.

The combing jacket in this lesson is made from a piece of towel-
ing, it is therefore inexpensive, but when carefully and neatly com-
pleted will be found very dainty and attractive.

References:

Textiles and Dress, Ohio State Universitj' Ex. Bulletin.
Pattern Miakins; by Paper Folding, Heath. London.

202
SUGGESTIONS FOR OPTIONAL MODIFICATION.

SILK COMBING JACKET.

No. 1. This combing jacket is made of a strip of bordered silk
cut like the one shown in the lesson except that the neck is rounded
out instead of having the flaps turned back. The silk is joined in a
seam at the back; the edges are finished with embroidered scallops.
It is fastened together under the arms with bows of ribbon and in
the front with two snaps over which bows of ribbon are sewed.

WOOL CHALLIE COMBING JACKET.

No. 2. This combing jacket may be cut from the pattern of a
kimono night gown. It should be flared under the arms a trifle more
than for the gown. The back is pointed at the bottom like the front.
The neck is finished with a rolling collar. The bottoms of the sleeves
and the body of the combing jacket are finished with a hem, the top
of which is outlined on the outside with featherstitching. There are
six eyelets worked in the edges of the front hem through which nar-
row ribbon is laced to hold the garment closed in front.

203
WORKING DIRECTIONS FOR COMBING JACKET

PREPARING MATERIAL.

The size of the towel used in making this combing jacket will
depend on the size of the girl for whom the jacket is made. As these
towels may be purchased in different sizes, it will not be necessary to
cut one narrower for the jacket. However, if desired, and the towel
is long enough, the smoothly woven border usually found on the end
of these towels may be cut off. In the combing jacket shown in the
illustration the border on the end of the towel used for the front of
the garment was cut off. When finished the jacket should be long
enough to reach below the waist line in the back and front.

CUTTING OUT THE COMBING JACKET.

No pattern is required for this combing jacket. It is made by
cutting the towel lengthwise in the center, a trifle more than half its
length; for the neck opening, it is cut crosswise a short distance from
the center toward each side near the shoulder line.

To make a jacket for a girl or woman of medium size, fold the
towel in the center, lengthwise; measure up on this fold from the
end of the towel which is to be used for the front 22"; mark with
a pin, cut on the crease up to the pin for the front opening. To
make the opening for the neck, measure up from the same end 17",
mark with a pin and cut a line 2" long perpendicular to the crease
through both thicknesses of the towel.

FINISHING THE EDGES.

On all the cut edges of the towel, fold and baste a hem the same
width as the selvages on the outside edges of the towel (do not make
a first turning in the hem as the edges of the hem will not ravel after
it is blanket stitched and the extra turnings will make it too heavy).
Using rope embroidery cotton, which is very coarse and heavy, blan-
ket stitch entirely around the edges of the combing jacket, making
the stitches about 1/4" deep and 1/4" apart (Chap. II, Par. 128). Fine
stitches and fine thread would not be effective on this rough, heavy
material. Turn back the points at the neck far enough to make the
jacket set nicely and sew them in place with three or four stitches
taken up and down through both the material and the flaps.

204

JOINING UNDER ARMS.

This combing jacket is made without any seams and is held to-
gether under the arms with ribbon tied in bows. To put on the
ribbon, measure up from the bottom of the combing jacket on one
edge 9"; mark with a pin; turn in the end of a piece of ribbon about
14" long and 1" wide and hem it to the wrong side of the combing
jacket (allow it to overlap the edge about V2"). In the same manner
sew another piece of ribbon the same length on the opposite edge of
the jacket. On the other side of the jacket sew on two ribbons in
the same manner.

On the front opening find the place where you desire the jacket
to be fastened; sew^ two ribbons each Y2 yard long on the opposite
edges of this opening in the same manner.

205

NIGHT GOWN

MATERIALS.

Nainsook (Chap. I, Par. 28)
or

Long Cloth (Chap. I, Par. 24)
or

Muslin (Chap. I, Par. 27).

1 piece of Nainsook twice the
length of the measurement
from shoulder to floor,
plus 5" for hems.

INTRODUCTORY STATEMENT.

-Not many years ago^ before the manufacture of cotton had
reached its present high degree of perfection, girls were very glad
to have plain, substantial night gowns made of unbleached muslin
in summer and outing flannel in winter. Now, however, most girls
take almost as much pride in their night dresses as they do in the
selection of their outer garments. Each girl's wardrobe usually con-
tains two kinds of night gowns; some which will stand service and
laundering and some lighter ones for special occasions. The kind for
service should be made of firm wash material, such as cambric, long;
cloth, or repplette which is easily cared for because it requires no
ironing.

The project given in this lesson is an excellent one to precede
dressmaking work in which straight seams are absolutely necessary
to give a fine appearance to the garment. The night gown has long
seams and gives good practice in machine stitching. The design
shown above is made along simple lines with kimono sleeves. If
set-in sleeves are preferred, they may be used.

References:

Sewing Club Bulletin. Kx. Division. Kansas State Agricultural College.
Suggestions for Sewing Schools, Patterson.

206
SUGGESTIONS FOR OPTIONAL MODIFICATION.

OUTING FLANNEL NIGHT GOWN.

No. 1. As this night gown is made for warmth, it has long
sleeves and a collar which fits closely around the neck. The yoke,
into which the body of the night gown is gathered, is made double.

CHEMISE.

No. 2. This may be made from a kimono night gown pattern by
curving it in at the armholes and allowing extra fullness in the front.
It is finished at the top with a curved band of all-over embroidery.

HANDMADE NIGHT GOWN.

No. 3. This illustration shows an elaborate gown with a lace
yoke and sleeves. Tlie ribbon is run through long eyelets just below
the armholes.

HAND EMBROIDERED NIGHT GOWN.

No. 4. This night gown is trimmed with set-in lace insertion and
embroidered scallops around the neck and sleeves. The ribbon is
run through long eyelets. Such a garment presents an opportunity
for the employment of a great deal of beautiful handwork.

207
WORKING DIRECTIONS FOR NIGHT GOWN

PREPARING MATERIAL.

Shrink the material by wetting it, partially drying it and ironing
it until dry.

CUTTING OUT THE NIGHT GOWN.

Draft a pattern for a kimono night gown (Chap. IV), or, if de-
sired, you may use a commercial pattern. If a commercial pattern
is used, study carefully the guide chart and all directions which
accompany it. This night gown is made without seams on the shoul-
ders, the back and front being cut alike, hence one-half the pattern
for the front of the night gown will be sufficient to use in cutting
it out. To prepare the material for cutting, fold it lengthwise in the
center, making the selvages even; then fold it crosswise in the center.
Lay the straight edge, or center front of the pattern on the lengthwise
fold of the goods with the top of the shoulder even with the crosswise
fold. Pin it in several places to keep it from slipping. Cut out the
night gown (do not cut the cloth at the top of the shoulder or on the
center fold) ; remove the pattern.

JOINING SEAMS.

The only seams necessary in this garment are the ones under the
arms. French seams may be used. To make them, baste the edges
of the material together on the right side and follow the directions in
Chap. II, Par. 137. To keep the seams from puckering under the arms,
make tiny crosswise cuts on the edge of the first seam around the
curves,

FINISHING THE NECK AND SLEEVES.

The neck and sleeves of this night gown are to be finished with
lace beading. You may finish the raw edges with narrow hems.
Stitch on the sewing machine or hem by hand. Overhand the lace on
the edge of the hems. Join the lace as in Chap. II, Par. 148.

If desired, the neck may be finished with bias tape. To sew on
this tape, lay the right side of the tape on the wrong side of the
material, with one edge even with the edge of the neck. Baste with
short stitches along the line of the crease, turn it to the right side,
baste it down and stitch on both edges. Overhand the lace on the
edge and join it as suggested above.

If embroidered beading is preferred, sew it on the neck and

208

sleeves with a lapped seam (Chap. II, Par. 139). Make tiny crosswise
cuts in the turned edges where the seam curves (if this is not done
the seam is likely to pucker around the curve).

FINISHING THE BOTTOM.

Have someone even the gown around the bottom (the night gown
should just clear the floor). Make the hem about 2" wide. Even it,
using a gauge as a guide (a strip of cardboard the width desired for
the hem), baste the bottom of the hem even as turned. Turn in the
raw edges, pin and baste in place removing the extra fullness at the
top of the hem by laying small pleats in it. Sew the hem in place with
machine, or with hemming stitches.

209

KIMONO

MATERIALS.

Outing Flannel (Chap. I, Par.
30), or

Silk (Chap. I, Par. 70).

About 3 yards of 30 " or 36"
material.

About 4 yards of narrower
material.

INTRODUCTORY STATEMENT.

While the kimono is worn by the women of Japan on all occa-
sions, the women of America use it as a negligee gown, as its long,
loose flowing lines make it very appropriate for that purpose. It
should not be worn as a house dress for it gives an untidy appearance
instead of the look of comfort w^hich it has when worn properly.

The kimono, like the combing jacket, may be varied in many
ways to suit the taste of the wearer. Silk, crepe de Chine, cotton crepe,
hand embroidery, beautiful lace and ribbon, all play an important
part in beautifying kimonos, but just as in other styles of dress, judg-
ment must be used in selecting the proper material so in selecting
material for a kimono, careful thought should be given to the use for
which it is designed. Cotton crepe in the plain colors, also in figured
materials, is one of the most common materials used for a serviceable
kimono. Where a thinner garment is desired, figured lawn and
dimities are used.

The kimono in this lesson is designed for a school girl and the
material is suggested with that idea in view.

References:

Art ;is Applied to Dress, Iliggins.
Color, Dress and Needlework, Crane.

210

SUGGESTIONS FOR OPTIONAL MODIFICATION.

■' He'"

^■^iF'''^' J>''* ' *?: \^ ^''. "^ '

OUTING FLANNEL KIMONO.

No. 1. This kimono is made with a shawl collar and turned back
cuffs finished with ribbon binding. It may be made the same as the
one shown in the lesson.

CREPE KIMONO

No. 2. This kimono is made with a yoke on which the body of
the kimono is shirred. The upper part of the kimono may be made
from the kimono night gown pattern; the other part is simply made
of three straight pieces of material sewed together and gathered at
the top. More decorative effects can easily be worked into this
design if desired.

211
WORKING DIRECTIONS FOR KIMONO

CUTTING OUT THE KIMONO.

As this kimono is made like a kimono night gown with the ex-
ception of the neck, you may draft a kimono night gown pattern or if
desired, you may use a commercial pattern. If a commercial pattern
is used, study carefully the guide chart and all directions which
accompany it.

This kimono is made without seams on the shoulders, the
back and front being cut alike, hence one-half of the pattern for the
front of the kimono will be sufficient to use in cutting it out. To
prepare the material for cutting, fold it lengthwise in the center,
making the selvages even. Fold it crosswise in the center, lay the
straight edge or center front of the pattern on the lengthwise fold of
the goods with the top of the shoulder even with the crosswise fold.
Pin it in several places to keep it from slipping.

If the material is not wide enough at the bottom, extra pieces
should be pinned to the edge of the goods to make it the desired
width. If the material is very narrow, as is sometimes the case with
silk, it may be necessary to use two widths of cloth for the front and
two for the back. This will make a seam down the center back.

JOINING SEAMS.

If it is necessary to piece the material under the arms, sew the
extra pieces to the proper edges of the material with a plain seam if
the edges are selvage, or if the edges are raw, use a French seam. If
necessary to place a seam in the center back, use a plain seam to join
selvage edges or a French seam to join raw edges.

FINISHING THE FRONT AND NECK.

The edges of the opening in this kimono were faced with length-
wise strips of the material cut IV2" wide, turned to the wrong side.
Ribbon may be used very satisfactorily by turning the raw edge Yi"
toward the right side and basting the ribbon over it even with the
folded edge. It should be stitched on both edges. This facing should
extend about IW above the point where the collar begins.

The collar for the kimono is made of a contrasting color and
should be made double; it may be cut freehand or from a commercial
pattern. To sew it on, place the center back of the collar and the
kimono together, with the under side of the collar on the right side of

212

the kimono and its edges even with the neck of the kimono at the
back. Baste them together with V4" seam. Stitch, remove bastings.
Turn the seam inside of the two thicknesses of the collar. Turn in
the edge at the top of the collar enough to allow it to cover the
stitching; baste and hem in place. Be careful to finish the end of the
collar neatly, also the ends of the facing.

CUFFS.

The cuffs are made of the same material of which the collar is
made. To make them, cut two strips of the material 5" wide, the
width of the bottom of the sleeve plus 1" for seams. Join the ends
of each piece with a plain seam; sew a piece on the bottom of each
sleeve in the same way that you sewed on the collar, making it double.
Turn the folded edge back over the sleeve of the kimono to form a
sort of cuff.

THE HEM.

Put on the kimono, have someone even it around the bottom the
distance desired from the floor, and pin the hem in place. Baste it
around the bottom edge; trim it off even the desired width, turn in
the raw edge, baste the top in position removing extra fullness by
laying small pleats in the top of the hem; stitch in position, unless
the material is silk; the hem on a silk kimono should be hemmed by
hand. Overhand the open ends of the hems together.

This kimono, when worn, may be fastened with a fancy pin or
with two or three snaps placed below the end of the collar (Chap. H,
Par. 133).

213

PRINCESS SLIP

MATERIALS.

Nainsook (Chap. I, Par. 28),

or
Cambric (Chap. I, Par. 6), or
Long Cloth (Chap. I, Par. 24).

Nainsook, the amount called

for in the pattern.
Thread No. 90.
Bias Tape.
Snaps or buttons.
Lace beading, the amount

called for in pattern.
Ribbon or lingerie tape

(about 2y2 yards).

INTRODUCTORY STATEMENT.

Every well groomed woman is very particular to see that outside
garments fit without wTinkles and with a glove-like appearance across
the hips and back. There is only one way to accomplish this result,
and that is to have the under garments without fullness or wrinkles.
If there is a tendency towards a large waist in proportion to the size
of the hips, all bands around the waist must be fitted to avoid increas-
ing its size. The fitted princess slip has come into use to overcome
this difficulty for it is so made that the under skirt and corset cover
make a continuous line from the shoulder to the bottom of the skirt.

The trimming for the upper part of the waist may be made as
elaborate as desired because the slip takes the place of the regular
corset cover. The bottom of the slip may be trimmed with ruffles,
with lace, with rows of insertion sewed together to make a llounce,
with embroidery, with beading and insertion, or may even be left
plain. Young girls who are wearing gathered or pleated skirts often
prefer a slip made similar to the slip-over night dress, without
sleeves, but this garment is not very satisfactory where smooth, fitting
skirts are worn on the outside.

References:

The Dressmaker. Buttcrick Publishing Co., N. Y.

The Sewing Book, Anne Jessup. Butterick Publishing Co., N. Y.

214
SUGGESTIONS FOR OPTIONAL MODIFICATION.

PRINCESS SLIP.

No. 1. This princess slip may be made from the same kind of
pattern as the one in the lesson. The upper part is finished with a
band of insertion set in with lace; the neck and armholes are finished
with lace beading. The band of insertion in the bottom of the skirt
is stitched or overhanded to the lace insertion, which is in turn
stitched to the material in the princess slip. The material is cut
out under the trimming.

FANCY PRINCESS SLIP.

No. 2. This shows the back view of a princess slip made very
much like the one in the lesson. Tlie hand crocheted yoke makes a
handsome trimming for the top of the garment. The yoke is hemmed
onto the garment and the material is cut away to about Y^," ; this edge
is turned under and hemmed making a very narrow hem.

215
WORKING DIRECTIONS FOR PRINCESS SLIP

PREPARING MATERIAL.

Shrink the material by wetting it, partially drying it, then ironing
it until thoroughly dry.

CUTTING OUT THE PRINCESS SLIP. ,

As the pattern for a princess slip is difficult to draft you are to
use a commercial pattern. Carefully study the guide chart and
directions which accompany the pattern. If a ruffle is to be set on
the bottom edge of the slip, turn up the pattern at the bottom the
width of the ruffle you wish to use (always allow at least 2" extra
length for making). Cut the strips for the ruffle the desired width,
making it one and one-fourth to one and a half times as long as
the skirt is wide at the bottom,

JOINING SEAMS.

Either French or felled seams (Chap. II, Par. 137-138) may be
used to join the seams on this garment. With this in mind, baste the
seams together, put on the garment and have it fitted, marking the
lines of the fitting with pins. The garment may be hung, or evened,
at the bottom at this time. Remove the princess slip, baste along the
lines of the fitting and finish the seams, leaving an opening at the
top of the center front or back seam long enough to allow the garment
to slip over the head easily.

PLACKET.

Finish the placket opening with an extension placket (Chap. II,
Par. 162). To fasten it together, sew about 6 snaps (Chap. II, Par.
133) on the placket or work the same number of buttonholes and sew
on small pearl buttons to correspond with them.

ARMHOLES.

Finish the armholes with bias strips of the material cut about 1"
wide (Chap. II, Par. 143). (In joining the strips, follow directions in
Chap. II, Par. 144), (a fitted facing made a little wider at the bottom
than at the top may be used). Overhand lace on the edge of the arm-
hole after it is faced (Chap. II, Par. 112), joining the lace carefully as
directed in Chap. II, Par. 148.

216

FINISHING THE NECK.

Make a narrow hem around the curve in the neck and overhand
lace beading on the edge. Finish the ends of the lace with narrow
hems and run ribbon through them.

PUTTING ON THE RUFFLE.

Sew the strips of the ruffle together, using plain seams to join
the selvage edges and felled seams to join the raw edges. Make a
narrow hem on one edge, using the hemmer on the sewing machine;
if desired you may baste the hem and stitch it. Divide the bottom
of the skirt in four equal parts (this skirt should be cut off even as
marked when it was hung). Gather the ruffle and baste it onto the
edge as directed in Chap. II, Par. 141 and 142. The raw edges may
be finished with a bias tape or French seam. If a French seam is
used, there should be two rows of gathering threads in the rufTle so
the second row of stitching can be made through the second row of
gathers. If bias tape is used, lay it on the right side of the gathers
with the edges even, baste in place along the crease; turn it over
making it lie flat over the raw edges of the skirt and rutfle; baste
it in place and stitch on both edges. Remove bastings.

217

RUFFLED PETTICOAT

MATERIALS.
Long Cloth (Chap. I, Par. 24).

1 piece of long cloth twice
the length of the skirt,
plus the width of the hem.

About 21/i yards embroidery
(amount will depend on
fullness of ruffle and
width of skirt.

Lace (about 2 yards) for bot-
tom of skirt.

Thread No. 80.

Pattern for 3 or 5 gored skirt
(commercial o r drafted
pattern).

INTRODUCTORY STATEMENT.

While plain petticoats are necessary for everyday wear, the
summer dress, party dress, or silk gown calls for a trimmed under-
skirt. The body of this skirt may be made of white percale, nainsook,
long cloth or cambric.

The style of the ruffled petticoat, the same as the plain, varies
according to the style of the outside skirt. Wide petticoats with full
ruffles come into use with the fuller dress skirts, while narrow petti-
coats with scant ruffles are desirable with the narrower dress skirts.

The ruffle on the skirt may be made of rows of lace and insertion
sewed together by hand, or lapped slightly and stitched on the ma-
chine and finished with a lace edge; or it may be made with lawn
or fine cotton material trimmed with a lace edge, or one or more rows
of lace insertion, depending on the desired width of the ruftle.

The petticoat presented in this lesson is trimmed with embroidery
flouncing, care should be taken to select embroidery with a firm edge,
otherwise it will not wear well.

References:

Textiles. Woolman and McGowan. Macniillaii Co.
Goodwin's Course in Sewing. Beattys Co., N. Y.

218

SUGGESTIONS FOR OPTIONAL MODIFICATION.

■f'Tt^l'"

. }

liii

No. 1. Fancy Petticoat

No. 2. Child's Petticoat.

FANCY PETTICOAT.

No. 1. This petticoat is finished with an under ruffle edged with
lace. The top ruffle of the skirt is made by joining rows of lace in-
sertion with strips of lawn. The easiest way to do this is to stitch the
lace in rows equally distant from each other on a strip of lawn or
nainsook the width desired for the ruffle. The lawn is then cut out
under the insertion and the edges are turned back and stitched in
a narrow hem.

While a band or fitted top is preferable in a petticoat, a draw
string is sometimes used to make a skirt adjustable to different sized
waists. This skirt is provided with such a draw string.

CHILD'S PETTICOAT.

No. 2. The upper part of this skirt may be made by using a
waist pattern which fits the child. The armholes and neck are faced
with bias strips of the same material. The bias ruffle is set on with
a bias band of the material. The ruffle is hemmed with the sewing
machine. A child's skirt should have tucks so placed that they may
be let out to provide the length which- is needed as the child grows.

219

WORKING DIRECTIONS FOR RUFFLED PETTICOAT
PREPARING MATERIAL.
Shrink the material.

CUTTING OUT THE SKIRT.

You may use a three or five gored skirt pattern drafted according
to directions in Chap. IV, or, if desired, you may use a commercial
pattern. If a commercial pattern is used, study carefully the guide
chart and directions which accompany it. If you use a drafted pat-
tern, place the center front of the front gore on a lengthwise fold of
the material. The other pieces may be cut two at once, as a rule.
You should be careful to have the straight edges of the pattern parallel
with the warp threads of the goods. Any notches which indicate
the places where the seams are to be joined should be cut very small,
or marked with a pencil.

JOINING SEAMS.

This skirt should be joined with felled seams. Pin and baste the
gores together, matching them according to the notches; keep them
even at the top, leave an opening 10" or 12" from the top of the back
seam for the placket opening. Try on the skirt, make the necessary
alterations, mark them with pins placed close together lengthwise.
NOTE : Be careful that the seams over the hips do not slant forward
or backward at the top; see that the skirt hangs straight down the
front, if it falls forward at the bottom, raise the skirt at the back
w^aist line, be careful not to make the skirt too tight around the hips;
sit down and see that it fits easily around the hips when seated.
Remove the skirt and rebaste, finish the seams. Finish the placket
opening with a bound placket (Chap. II, Par. 161) or an extension
placket (Chap. II, Par. 162).

FINISHING THE TOP.

As the material in this skirt is not heavy, a band is used to finish
it at the top. For the band, tear ofT, or cut a strip of material 21/2"
wide and 2" longer than the waist measure. Turn in one raw edge;
put on the skirt; place the center of the band on the center front of
the skirt, the folded edge overlapping the top edge of the skirt. Pin
the band in position, turning in the ends even with the back opening.
(The skirt should be made even around the bottom while you have
it on). Remove the skirt and baste on the edge of the band, fold the

220

other edge of the band over to the wrong side exactly opposite the
edge on the right side, pin, baste and stitch all round the edges
of the band.

Sew one hook and eye on the ends of the belt and three snaps on
the placket (Chap. II, Par. 133).

FINISHING THE BOTTOM OF THE SKIRT.

Make a narrow hem in the bottom of the skirt and overhand
narrow lace on the edge, joining the ends of the lace as in Chap. II,
Par. 148 or, if desired, a narrow embroidery may be sewed on the
edge with a lapped seam (Chap. II, Par. 139). Join ends of em-
broidery with a felled seam.

THE RUFFLE.

Join embroidery with a felled seam (stitched or hemmed). Di-
vide the ruffle in four parts, marking each part with a pin; gather
each part. Divide the skirt in four parts, place it over the end of an
ironing board (if possible); pin the quarters of the ruffle to the
corresponding quarters of the skirt; adjust the gathers, baste the ruffle
on the skirt, making the bottom of the scallops of the embroidery
even with the bottom of the skirt. Baste bias tape smoothly over the
gathered edge of the ruffle making one edge even with the gathering
threads. Join the bias tape (Chap. II, Par. 144) and stitch it on
both edges.

221

CAMBRIC CORSET COVER

MATERIALS.
Cambric (Chap. I, Par. 6), or
Long Cloth (Chap. I, Par. 24)

or
Nainsook (Chap. I, Par. 28).

About 1 yard of cambric.
About 2^2 yards of embroid-
ery beading.
Thread No. 70.
1 hook and eye, or 3 buttons.
2^2 yards lingerie tape.

INTRODUCTORY STATEMENT.

The corset cover, as its name implies, is primarily worn to pro-
tect the corset; it also serves to improve the appearance of the outside
waist. There is practically no end to the styles in corset covers; in
fact, there are almost as many as there are women to wear them, but
in the end they all serve the purpose named above whether they are
made of beautiful lace flouncing, embroidery flouncing, lace trimmed
nainsook, lawn, hand embroidered linen or delicate shades of crepe
de Chine.

The corset cover shown in this lesson is designed for service and
for that reason is made of substantial cotton material consisting
merely of long cloth trimmed with a simple edge of embroidery
through which tape or ribbon is run to draw up the fullness at the
top. It is cut after a pattern which makes but few gathers necessary
in the band at the waist line; this is very desirable, as it gives plenty
of fullness at the top without the bulging, clumsy appearance at the
band. It is desirable to attach a peplum to keep the corset cover
from slipping up and leaving a gap at the waist line; if preferred it
maj be attached to a pair of drawers thus forming a combination suit.

References:

Household Arts, Bulletin Missouri Stale Board of Agriculture.

The Modern Household, Talbot and Breckcnridge. Manual .Arts Press.

222
SUGGESTIONS FOR OPTIONAL MODIFICATION.

CAMBRIC CORSET COVER.

No. 1. This corset cover is made like the one shown in tlie
illustration, except that the fullness at the top is gathered in and lin-
ished with bias tape. The neck and armholes are trimmed with
tatting. It is a very plain serviceable garment.

HANDMADE CORSET COVER.

No. 2. This corset cover is decorated in rather a novel way. Half
inch square openings are cut and the raw edges turned back to form
the design shown. Net is sewed on under the squares.

HAND EMBROIDERED CORSET COVER.

No. 3. This corset cover is embroidered with the satin stitch and
eyelets. The lace sleeves are made by sewing together several rows of
insertion; lace beading finishes the top of the corset cover.

FANCY CORSET COVER.

No. 4. The hand crocheted yoke which finishes the top of this
corset cover makes it very elTective when worn under a thin waist.
There is almost no limit to the application of fine handwork which
may be used in this garment.

223

WORKING DIRECTIONS FOR CAMBRIC CORSET COVER

PREPARING MATERIAL.
Shrink the material.

CUTTING OUT THE CORSET COVER.

A commercial pattern may be used for this corset cover, or you
may draft your own pattern according to directions in Chapter IV.
If a commercial pattern is used, study carefully the guide chart and
directions accompanying it.

As the two pieces forming the front should be cut out together,
fold the material lengthwise to form a double strip as wide as the
front of the pattern. Lay the edge of the center front of the pattern
even wdth the unfolded edges of the goods, pin it in place and cut out
the fronts. To cut out the back for which you have a half pattern,
fold the remaining material lengthwise to form a double strip as wide
as the back pattern. Lay the center back of the pattern on the fold
of the material, pin it in place and cut it out. Cut out the peplum,
laying the center back of the peplum on the warp thread of the goods.
Tear out, or cut off a strip 3" \Ndde, the length of the waist measure,
plus 2" for under turnings and lapping.

JOINING SEAMS.

This corset cover may be joined with felled or French seams
(Chap. II, Par. 137-138). With this in mind, baste together the under-
arm and shoulder seams of the corset cover. Baste the peplum to-
gether in the back, if necessary. Try on the corset cover; make any
alterations necessary. If it is too low in the neck or too full in the
lower curve of the armhole take up the shoulder seam; if it is too
loose under the arms take up the under-arm seams. Pin a tape or a
strip of cloth around the waist over the bottom of the corset cover,
adjust the fullness and mark the waist line with pins or trim off the
extra material ^^^th the shears.

Rebaste on the line of fitting; finish the seams. Remove bastings.

PUTTING ON THE BAND.

Gather the corset cover across the lower edge of the back about
2V'2 " inside of the under-arm seams (Chap. II, Par. 141), draw up the
gathers to make the back 9" or 10" wide; about 2^/3" from the under-
arm seam gather across the lower edge of the front pieces and draw
up the gathering thread until the bottom of the corset cover is the
same size as the waist measure, plus 1" extra for lapping at the front.

224

TO SEW ON THE BAND.

Lay it on the under side of the corset cover with the center even
with the center back, and the edge even with the gathered edge of the
corset cover. Pin and baste in place (be careful to turn in the ends of
the band V-i" making them exactly even with the front edges of the
corset cover). Adjust the gathers, pin and baste the band to the corset
cover. Stitch along the line of basting; remove bastings and gather-
ing threads. Turn in the raw edge on the other side of the band
and fold it over to cover the stitching; pin and baste in place. Remove
pins. Cut open the lower edge of the band to receive the peplum.
Turn in the raw edges and crease them.

THE PEPLUM.

Finish the lower and front edges of the peplum w^th a narrow
hem. With the center backs of the peplum and the band together
place the wTong side of the peplum on the under side of the band,
with the edges even; pin and baste in place; remove the pins and
stitch. Turning in the edge of this seam fold over the edge of the
upper part of the band enough to cover the stitching; pin, baste and
stitch in place. (Both sides of the band should be perfectly smooth.)

FINISHING NECK AND ARMHOLES.

The embroidery beading should be sewed around the neck and
armholes with a lapped seam (Chap. II, Par. 139). To keep the seams
smooth, make tiny crosswise cuts in the underturned edges around
the curves. Finish the ends of the embroidery on the neck with
narrow hems; join the ends in the armholes with felled seams ((>hap.
II, Par. 138). Run ribbon through the beading.

FASTENINGS.

Fasten the corset cover together with snaps on the front hems
and a hook and eye on the band (Chap. II, Par. 133) or with buttons
and buttonholes on the hems and also the band (Chap. II, Par. 135-136).

225

DRAWERS

MATERIALS.

Cambric (Chap. I, Par. 6),

or
Long Cloth (Chap. I, Par.

24), or
Nainsook (Chap. I, Par. 28).

iy2 to 2 yards of material.
Embroidery (l^A times

width of the two legs).
Thread 70-90, depending on

fineness of material used.

INTRODUCTORY STATEMENT.

There are some things in a girl's wardrobe that are counted as
luxuries and there are others which are absolute necessities. This
garment is one of the necessities. Whether they are joined to a
corset cover in a combination suit, or made in one piece as a sort of
princess slip, makes no particular difference except in the amount of
gathers at the waist line, but they are usually made to conform to the
prevailing style in their shape at the bottom.

In the days of full skirts the wide, circular ones are very popular,
while in the days of tight skirts they are narrowed down and even
fastened into a band of some sort at the knees to make them fit closely.
The material used, as in other garments, will depend on whether they
are to be worn daily or occasionally. For service, long cloth or
cambric is generally used; the softer nainsook or linen may be used
for the finer ones.

The garment in this lesson is made along standard lines. Some
of the details will have to be decided upon by the wearer, as each
girl will probably have ideas of her own which can be easily intro-
duced. Embroidery trimming may be used (to match the embroidery
on the under skirt) for the bottom of the legs, or they may be finished
with a ruffle made of the goods, of lawn, or of barred muslin tucked
and trimmed A\ith lace and insertion; lace is often sewed on the bot-
tom for trimming.

References :

The Complete Dressmaker, C. E. Laughlin.
Hints on Dress, E. C. Gale.

226
SUGGESTIONS FOR OPTIONAL MODIFICATION.

LACE TRLMAIED DRAWERS.
No. L These drawers are made open. Notice the fitted facing
which finishes the inside of the legs. The lace is sewed on the edge
of a narrow machine made hem.

CHILD'S DRAWERS.
No. 2. These drawers are made bloomer style; the fullness at
the bottom of the leg is gathered into a band of embroidery beading,
which is sewed on with bias tape. The openings on the sides are
finished with bound plackets.

READY-MADE DRAWERS.

No. 3. These drawers which are ready-made, have gathers across
the back to make them fit at the waist line. The openings on the inside
of the legs are finished with bias tape. The embroidery trimming on
the bottom of the drawers is set on with embroidery insertion.

DRAWERS.

No. 4. These drawers are made of fine material (nainsook) ; they
are finished on the bottom with dainty lace set on the bottom of the
legs with insertion provided with eyelets through which narrow
ribbon is run.

227
WORKING DIRECTIONS FOR DRAWERS

PREPARING iMATERIAL.
Shrink the material.

CUTTING OUT THE DRAWERS.

You may use a commercial pattern for these drawers, or draft a
pattern according to the directions in Chap. IV. If a commercial
pattern is used, study carefully the guide chart and directions accom-
panying it. If you use a drafted pattern for plain drawers, lay the
side edge of the pattern parallel with the warp threads of the material
which may be doubled crosswise so that both legs may be cut at the
same time. Pin the pattern in place and cut out the drawers.

JOINING SEAMS.

Each leg should be joined with a felled seam (Chap. II, Par. 138).
If the drawers are to be made closed, join the two legs with a felled
seam extending from the top of the back to within 10 " of the top of
the front. Finish the opening at the front with an extension placket
(Chap. II, Par. 162). NOTE: Children's drawers are usually gath-
ered onto a band in front and to another band in the back, with an
opening 4" to 6" long on one or two sides. These openings are fin-
ished with a bound placket, or bias tape.

If the drawers are made open, the edges on each leg should be
finished with a fitted facing about 1" wide. This facing is usually
joined opposite the seam in the leg, the raw edges of the seam being
turned inside. If the drawers are to be opened in the back, they
should be lapped in front the width of the facing. If the drawers
are to be opened in front, they should be lapped the width of the
facing in the back. After they are lapped, stitch them together about
6" from the top in the back, or about 4" in the front.

FINISHING THE TOP.

The top of the drawers may be inserted in the lower edge of the
band of the corset cover and made to form a combination suit; or,
they may be finished with a straight band. The drawers in the illus-
tration are finished with a bias facing. Cut a bias strip 1 " wide and
long enough to reach around the waist, sew it on the top edge of the
drawers; turn the seam to the wrong side, fold it over to the wrong
side; baste along the stitched edge, turn in the opposite raw edge
and the ends, baste and stitch in place, or hem by hand.

228

FINISHING THE BOTTOM.

The bottoms of the drawers in this lesson are finished with an
embroidery ruffle. You will notice that this rufTle is gathered and the
embroidery is left open at the sides of the legs. To put on the ruffle,
cut the embroidery in two equal pieces. On each end, miter the
embroidery the same as you would lace, except that it should be
joined with a felled seam (Chap. II, Par. 147).

TO SEW ON THE LACE.

Divide each drawer leg in halves and mark it with a pin; divide
each piece of embroidery in halves and mark with a pin. Gather
each half and adjust it to the half of each leg. As the embroidery is
to be sewed on with a felled seam, place the wrong side of the em-
broidery on the wrong side of the drawer leg, allowing the edge of
the drawer leg to extend about ^A" beyond the edge of the gathered
embroidery. Baste and stitch the embroidery in place, making the
mitered ends meet on the side of the drawer leg. (Be sure to stitch
through the gathering threads.) Finish sewing on the embroidery
with a felled seam (Chap. II, Par. 138).

FASTENINGS.

If the drawers are closed, place three buttons and buttonholes
on the placket and one on the end of the facing. If the drawers are
made open (open in the back) sew one hook and eye on the end of
the bias facing at the back, or use a button and buttonhole if you
prefer. If they are made open and are to be fastened in front, sew
one hook and eye on the ends of the facing and about three snaps
down the edge of the opening.

229

PAJAMAS

MATERIALS.

Outing Flannel (Chap. I, Par. 30).

Nainsook (barred) (Chap. I, Par. 28).

Amount of material called for
in pattern.

4 buttons.

11/2 yards cotton tape.

INTRODUCTORY STATEMENT.

Pajamas are usually thought of as distinctly a sleeping garment
for men and boys, but they are growing in popularity particularly
for children and even women; they are especially suitable for winter.
They fit closer to the body and for that reason are much warmer than
the night gown. When made of outing flannel in the dainty shades
of pink, blue and lavender, with white trimmings they are really very
attractive; when made with feet they are exceedingly warm and
comfortable.

Pajamas are used a great deal by people who sleep out of doors;
when so used they are often made with an attached hood which keeps
the cold air from the neck.

This garment is usually made in two pieces, with the coat sep-
arate, but some are made with the trousers attached. The garment
in this lesson is made in two pieces and although outing flannel is
designated as the material, if a summer garment is desired, seco silk
or cotton poplin in dainty colors may be used instead. A very at-
tractive garment can be made of delicate color of crepe de Chine, but
this is more expensive.

References :

Needlework and Cutting Out, Rosevear.
Book of Needlework, S. O. Beeton.

Macmillan Co.

230
SUGGESTIONS FOR OPTIONAL MODIFICATION.

CHILD'S PAJAMAS.

No. L These pajamas should be made from a commercial pat-
tern. They are made just like the pajamas in the second illustration,
except that the feet have been omitted. They are suitable for a child
from 2 years to 8 or 10 years of age. The extra fullness across the
back is gathered into a band which is buttoned to the upper part of
the garment, as shown in the second illustration.

CHILD'S PAJAMAS.

No. 2. These pajamas are made of outing flannel for winter
wear. The feet which are made as a part of the legs, keep the gar-
ment from slipping up. A pattern should be used in making this
garment. To make the feet, sew a seam across the bottom of the
heel, then inserl the gusset which is to form the sole of the foot.
Finish the raw edges of the seam with overcasting.

231
WORKING DIRECTIONS FOR PAJAMAS

PREPARING MATERIAL.

Shrink the material. You are to use a commercial pattern in
making this garment. Study carefully the guide chart and directions
accompanying the pattern and cut out the garment.

MAKING THE COAT.

As you will notice in the illustration in this lesson, the pajamas
consist of a loose fitting coat and a pair of drawers. Join the shoulder
and under-arm seams of the coat with felled seams (Chap. II, Par.
138), finished on the right side. Join the seams of the sleeves in the
same manner and set them into the armholes of the jacket with
lapped seams (Chap. II, Par. 139). Finish both edges of the front
opening with a facing 3" wide. Using a flat, mercerized braid make
four "frogs" on the left side and place them at equal intervals along
the edge of the garment. (A "frog" is a design made of braid
to ornament the buttonhole. It is sometimes made with a loop ex-
tending over the edge of the garment to serve as a substitute for a
buttonhole.) To make each frog, place one end of the braid about iy2"
from the edge of the opening (on the left side); bring it around to
the front edge in a loop large enough to enclose a buttonhole. Make
additional loops of braid around the end to resemble a clover leaf.
Turn in the ends and fasten the braid in place with small running
stitches. Sew the buttons (on the right side) to correspond with the
buttonholes.

Finish the neck with a fitted facing about V2" wide. Finish the
bottom of the sleeves and the bottom of the jacket with a V2" hem.
Place the pocket on the left-hand side of the jacket. NOTE: if
these pajamas are made for a girl or woman place the frogs and
buttonholes on the right-hand side and the buttons on the left-hand
side.

MAKING THE DRAWERS.

It will probably be necessary to piece the drawers at the crotch.
This will depend on the width of the material. If this is necessary,
pin extra material to the selvages in the place desired, when cutting
out the garment, and stitch the pieces on with the same kind of seams
used on the other parts of the garment. Join each leg with felled
seams finished on the right side. Join the two legs in the same
manner leaving an opening in the front about 11" long for the placket.
Finish this opening with an extension placket (Chap. II, Par. 162).

232

If you desire to fasten this opening together with buttons and button-
holes, make the facing on the extension placket twice as wide as you
otherwise would, and fold half of it back to the edge to form a flap
in which to work the buttonholes. If buttonholes are used, sew on
buttons to correspond with them on the extension piece of the
placket. Snaps may be used satisfactorily for this purpose, excepting
for the top fastening, which should be a hook and eye. If snaps are
used make the extension placket without the extra flap.

If the top of the drawers are fitted, finish with a 1" facing. If
it is not fitted, it may be finished with an inch hem, through which
a cotton tape is run. Where the tape is used, make buttonholes in
the outside of the hem, even with the inside edge of the extension
piece of the placket and bring one end of the tape out through this
(if the tape is brought out through the end of the hem, it will make
the pajamas close awkwardly in the front). Finish the bottom of
the drawers with ¥2" hems.

233

BOY'S SHIRT

MATERIALS.

Madras (Chap. I, Par. 25), or
Percale (Chap. I, Par. 31).

Amount of material called
for in pattern.

Commercial pattern.

9 pearl buttons.

Thread No. 70.

INTRODUCTORY STATEMENT.

While many styles of garments come and go, particularly in
women's wear, yet the shirt remains as a standard piece of apparel
for men and boys. The style of collar and cuffs may vary from time
to time, but the general principles of the garment are so nearly un-
changed that a standard pattern can be adapted easily to the kind of
shirt desired.

Percale is the most common material for shirts, it stands wear,
holds its color well, and launders beautifully.

The shirt shown in this lesson is designed for a boy, it is there-
fore set on a band at the waist line; the collar is attached to the shirt.
Either of these features can be easily altered if desired.

In undertaking to make a shirt a commercial pattern should
be used.

References:

Handicraft Bulletin, Ex. Division Kansas State Agricultural College.
Household Sewing, Bertha Banner.

234
SUGGESTIONS FOR OPTIONAL MODIFICATION.

MAN'S SHIRT.

No. 1. This shirt is made very similar to the one shown in this
lesson; its particular features are the soft cufTs and collar. Instead
of being finished with a band at the bottom, it is allowed to extend
below the waist line several inches and is curved off toward the under-
arm seam. It should be made from a commercial pattern. The guide
chart and directions which accompany such a pattern should be
studied carefully.

MAN'S SHIRT.

No. 2. This shirt is made like No. 1, except that it is finished
with a collar band at the top instead of a collar. The open cuffs show
the placket opening which is necessary in all shirts of this character.
This opening is finished with a bound placket. Usually a strip with
a pointed end is sewed along the upper edge of this placket for trim-
ming. A commercial pattern should be used in making this shirt.

235
WORKING DIRECTIONS FOR BOY'S SHIRT

PREPARING MATERIAL.
Shrink the material.

CUTTING OUT THE SHIRT.

You are to use a commercial pattern to make this shirt. In select-
ing the pattern choose one in which the lower part of the waist is
fitted into a band. The tape sometimes used to gather the fullness
in at the waist line does not make as neat a finish as the band.
Carefully study the guide chart and the directions accompanying
your pattern. Cut out the shirt accordingly.

JOINING THE SEAMS.

Finish the seams under the arms and on the sleeves with felled
or lapped seams (Chap. II, Par. 138-139). The shoulders may be
finished in the same way, but they will look very neat finished with a
lengthwise strip 1" wide. To put on the strip, baste the seams as
usual and place a lengthwise strip %" wide over the seam on the
right side, letting the center of the strip lie on the basted seam. Turn
in the raw edges, baste in place. Trim off the extra material under the
strip; baste a strip the same width exactly opposite this on the wrong
side. Stitch the strip on the right side along the edges, sewing in the
strip on the wrong side at the same time.

To finish the front edge of the shirt, hem, or face the right-hand
edge with a hem, or facing, %" wide. Finish the left-hand edge by
turning the raw edges toward the right side and stitching a l^A" strip
over it; place the stitching about I/4" from each edge. Place four
buttonholes cut lengthwise of the material in the center of this strip.
Place buttons on the right side to correspond with the buttonholes.

THE COLLAR.

The standing collar on a boy's shirt is made of two parts; one
part forms a band which fits around the neck and is made lengthwise
of the material; the other part which turns back over the bands to-
w^ard the right side is frequently cut crosswise of the goods, especially
if the material is striped. The collar should be made with a double
interlining of the goods itself, or some heavy white material like
Indian head. If your pattern calls for a two-piece collar, make the
turn-over part complete, stitching it around the edge on the outside;
then placing the centers of each part together, lay the raw edge of

236

the turn-over part between the raw edges of the top part of the band
and stitch them together, continuing the stitching around the ends of
the band.

To sew on the collar, stitch the under side of the band and the
interlining to the neck of the shirt turning the seam out toward the
right side. Turn in the raw edge of the outside of the band to cover
this stitching, baste and stitch in place (it is advisable to pin the collar
on the neck of the shirt and baste from the center back toward the
front.) Fasten the band together at the ends with a button and but-
tonhole, placing the buttonhole on the left side. Near the bottom of
the front ends of the turn-over part, work two buttonholes opposite
each other, crosswise of the material (to hold the collar link).

THE SLEEVES.

Join the sleeves with felled seams. Finish the opening with a
bound placket (Chap. II, Par. 161); place a few gathers in the back
of the sleeve (on the under side). The cuffs should be interlined the
same as the collar and may be sewed to the sleeves in the same way that
you sewed the collar band to the neck of the shirt; if the cufTs are to
lap, sew them around to the edge of the extension side of the placket.

If the cuffs are to be held together with cuff links, turn under the
extension of the placket and sew it into the cuff with the bottom of
the sleeve.

If a lapped cuff is used, place a buttonhole in the upper side,
with a button to correspond, on the lower side. If cuffs are to be
held together with cuff links, work a buttonhole in each end of the
center of the cuff, making the buttonholes exactly opposite each other.

NOTE: It may be necessary to trim off some of the material at
the curves of the armholes to make the sleeves fit and hang properly.
Sew the sleeves into the shirt with lapped seams. Make tiny cross-
wise cuts in the under turnings around the curves to make the seam
lie smoothly.

FINISHING THE BOTTOM OF THE SHIRT.

Finish the bottom of the shirt with a facing cut lengthwise of the
material 1" wide (turn the facing toward the right side of the shirt to
give it the appearance of a band). Work a buttonhole in one end;
sew a button on the other end to correspond.

237

EMBROIDERED LUNCHEON SET

MATERIALS.
Linen (Chap. I, Par. 40).

1% yards plain woven linen,
36" wide.

Embroidery cotton (dell"
blue, brown, pink, green).

Embroidery needle.

Thread No. 80.

INTRODUCTORY STATEMENT.

Most housekeepers take great pride in having on hand a bountiful
supply of attractive table linen. Many girls enjoy making a collection
of pretty embroidered towels, table linen, doiles, etc.

Luncheon sets are particularly attractive on a polished table and
many prefer to use them in place of the large table cloths; they are
also much more easily laundered.

The luncheon set shown in the lesson would make a very attrac-
tive addition to any home supply of linen or to a girl's "Hope Box."
Such a combination of attractive work in a serviceable article is par-
ticularly suitable for a Christmas gift.

In undertaking a complete set of this kind it would be well to
finish one or two pieces in the class and make the remaining pieces at
home. The optional modifications off'er suggestions for embroidery
designs that, no doubt, will appeal to difl'erent members of the class.

References :

Students' Textbook on Color. O. N. Rood.
Principles of Science of Color, Wm. Benson.

238
SUGGESTIONS FOR OPTIONAL MODIFICATION.

SCALLOPED LUNCHEON SET.

No. I. This set consists of a round center piece with six plate
doilies and six tumbler doilies. It is made of ecru colored linen.

HEMSTITCHED LUNCHEON SET.

No. 2. This set consists of one luncheon cloth and six napkins.

The edges are finished with hemstitched hems. It is made of damask

linen.

CROCHETED LUNCHEON SET.

No. 3. This luncheon set consists of a square center piece and
three sets of square doilies. The edges are finished with crocheting

CRETONNE LUNCHEON SET.

No. 4. This set consists of two runners which cross in the center,
two oblong pieces, and two sets of doilies. These cretonne sets may
be purchased in an art needlework department and the edges finished
to suit the taste. The edges of these doilies are finished with cro-
cheted lace.

239
WORKING DIRECTIONS FOR LUNCHEON SET

PREPARING MATERIAL.

Straighten one edge of the material; measure down on the selvage
36" to form a square for the lunch cloth. Draw a thread crosswise,
cut on the line (the remaining material is to be cut into six 12"
squares, which are to be used for the napkins). For the straight edge
measure down on the remaining piece 12"; draw a thread crosswise;
from the line formed, measure down 12' on the selvage; draw an-
other thread crosswise. Measure out on the straightened edge 12";
draw a thread lengthwise; from the line formed, measure out again
on the straightened edge 12", draw another thread crosswise; cut on
the lines formed.

FINISHING THE EDGES.

Make a hem Yi" wide around the edges of the lunch cloth and the
napkins. On the selvage edges, before turning them under, make
tiny crosswise cuts about 3" apart to keep them from puckering when
laundered. You will observe in the illustration that the hems are dec-
orated with cross-stitching. (Delf blue embroidery floss was used
very effectively for the work in this luncheon set). Any mercerized
embroidery floss may be used, but it should be rather coarse. No
attempt is made to give the size of embroidery cotton to use, as there
are several different brands on the market and the numbers of the
sizes in the different brands vary considerably.

To make the cross-stitched border on the luncheon set, overcast
the edges over the hem working from left to right on the right side of
the material; make the stitches V^" apart. Return and overcast the
hems again, placing the stitches half way between the stitches made
the first time. The threads should cross in the middle of the hems
in the front and back.

THE DESIGN.

The design used in the luncheon set in the illustration may be
purchased in almost any pattern department. This design is worked
in cross-stitch. NOTE: It is difficult to make an original cross-
stitch design because it is not only necessary to draw the outline, but
it is also necessary to draw each stitch in its proper position. Any
other design may be used to suit the taste, although you will find
that this design carefully worked out makes a very attractive lunch-
eon set.

240

Transfer each design to the corner of the luncheon cloth and
napkins by placing it rough side down and pressing it with a hot iron.
Remove the patterns and work the designs.

The basket should be worked with brown embroidery cotton;
the flowers in the basket should be worked with dark green, light
green, pink and blue, the colors being combined to suit the taste. (Do
not use knots in beginning the stitches, as you are working on an
article which will not be covered with other material on the wrong
side.) Small backstitches or running stitches may be used in starting
a new thread.

This lundh cloth consists of the center piece and napkins only,
but if desired, different sized sets of doilies may be made instead of
the napkins. They can be made circular in shape as well as square,
although it would be more difficult to make the hems even.

241
REVIEW QUESTIONS AND PROBLEMS.

1. What are the essential points in designing a combing jacket?

2. Design a combing jacket and explain how it should be made;
be sure to discuss each process and state the ditlerent kinds ot
stitches used.

3. Why is a night gowTi considered rather an easy garment to
make?

4. What sort of material would you select for a kimono? Why?

5. Why is silk such an expensive material? What materials are
sometimes used as a substitute for silk?

6. What kind of material is suitable for undergarments?

7. What is a ruffle? Name some garments on which the rutlle
is frequently used. Explain.

8. Of what material should pajamas be made for very cold
weather?

9. Design and explain how you would make pajamas for some-
one who expected to sleep out of doors in cold weather.

10. W^hat is a placket? Name four or five garments requiring
plackets and explain how the placket should be made in each.

11. Of what material should a boy's shirt be made?

12. Why is linen particularly desirable for table cloths and
napkins?

13. Design an embroidery luncheon set. Calculate the cost of
all the materials, estimate the time that it will require to complete
it. Counting your time worth 20c per hour, what would be the
worth of the complete set?

14. How would you undertake to remove an unknown stain
from a white linen towel?

15. How would you prepare a good general purpose cleaning
fluid?

16. W^hat precautions are particularly necessary in doing any
kind of garment cleaning?

17. What cleaning and pressing of garments have you tried at
home?

242
SUGGESTIONS FOR HOME APPLICATION.

After you have completed the work of this section you should be
able to do a great deal of your own sewing. However, you will likely
meet many problems which, on account of lack of space, were not
dealt with in this text. The following suggestions may assist you
in some of your home problems.

1. The ruffle for a petticoat may be gathered very satisfactorily
on the sewing machine, using the special attachment which accom-
panies the machine.

The greatest difficulty found in using a machine gatherer is in
adjusting it to the proper fullness, so that the ruffle may fit the part
of the garment where it is to be placed without re-adjusting the
gathers. When you are gathering a ruffle on the machine try the
following method of adjusting the ruffle to the goods: Divide the
garment where the ruffle is to be placed, in halves or fourths; divide
the ruffle in a corresponding manner. Measure one division of both
the skirt and the ruffle; find the proportion existing between them.
For instance, if the space on the garment is 18" and the length of the
space on the ruffle is 24", the proportion will be 18" to 24" or the
gathered ruffle is to be 18/24, or % the length of the ungathered
ruffle; take a piece of cloth and adjust the gatherer until it will gather
this piece to % of its length ; that is, if the piece is 8" long, adjust the
attachment to gather it to 6". When the attachment is properly ad-
justed, gather the ruffle.

2. Tucks make very attractive trimming for drawers; they may
be made quite easily on the sewing machine with a little practice by
using the tucker attachment. This adjusts the width of the tucks
and the spaces between them. Do not attempt to make tucks on a
garment until you have practiced making them on another piece of
cloth. Be careful to study the instructions given in the book of direc-
tions which accompanies your machine.

If the tucks are made before the seams are joined, you must be
very careful to make them even in width and spacing (particularly at
the ends where they are to be joined). If the tucks are made after
the seams are joined, they will be continuous and for that reason
will make a better appearance. It is a little difficult to tuck over the
seam however, and where this is to be done, the seams must be very
small and flat.

Very narrow lucks may be made successfully without using the
tucker, in the following manner: Fold and stitch the first tuck in the

243

desired position. With a tape line or cardboard gauge, measure from
the fold of this tuck to the place where the fold of the next tuck is to
come. Crease on a thread and stitch the second tuck in place. Con-
tinue in this way until all the tucks are laid.

3. Embroidery used for a ruffle on a petticoat usually wears
around the bottom while the upper part is still in good condition. If
you have any petticoats which have become worn in this way, try
this method of repairing them: Trim off the worn portion of the
embroidery and the drop ruffle. Hem them with narrow hems and
sew lace around the bottom of the embroidery wide enough to reach
the bottom of the under part of the skirt. Sew lace on the drop
ruffle also, if it is needed to make the skirt a little longer.

4. If you have a plain narrow petticoat, a simple way to make
it wider is to cut it between the gores with a straight cut from the bot-
tom towards the top a distance of about 12". Lay a piece of material
under the opening, spread it open like a V and stitch in the extra piece
with lapped seams. A ruffle may be put on at the bottom if desired.

5. Tf the prevailing style calls for narrow petticoats and yours
are all full and wide, rip the ruffle off the back gore, cut out the gore,
making the skirt as much narrower as desired, cut a piece out of the
ruffle to make it fit the skirt, join the ruffle again with French or
felled seams and sew it back in place. The ruffles may be removed
from the skirt and the fullness taken off each gore, the ruffle made
smaller, as suggested above, and replaced. The condition of the
garment should govern the amount of work that you use in re-
modeling it.

6. A boy's shirt usually wears out first around the neck and
cuffs. If you can find any shirts at home in this condition cut off the
collar bands and cut the necks to a V shape in front and face the
opening. Cut the sleeves short enough to reach just (o the elbow
and hem \\'ith W hems, make any other repairs necessary. These
shirts will be very comfortable for summer,

7. Luncheon sets instead of table cloths may be used in the
summer time to great advantage, as they are easily laundered and
give a cool appearance to the table. Examine the table linen at home
and select a table cloth which is beginning to wear out. Cut out the
good part and make a luncheon set, stitching the hems on the machine
and finishing them with double overcasting used in the last lesson of
this section.

244

INTRODUCTION TO SECTION VI

THE work of this section is intended only for students who have
completed the elementary processes set forth in the earlier parts
of this book. The undergarments and others which may not be
rendered worthless by a slight inaccuracy in cutting and fitting were
presented in Section V; students who have completed the work of
that section should be able to undertake the work of this section
wihout difficulty.

Before beginning any of these projects the class should make a
careful study of Patterns and Pattern Drafting as presented in Chap-
ter IV, of the supplement. Whether or not pupils are to draft their
own patterns, they should by all means become familiar with the
function of patterns. They need also to know something about how
to take measures and to apply them in working out a pattern.

The illustrated pages of Suggestions for Optional Modifications
are not used in this section; by this time students should be able to
design and work out modifications to suit individual taste. The
working directions are not so detailed, neither are the references given
for the fundamental stitches, it is supposed that girls who are able
to undertake this work will not need help on the elementary processes.

The garments presented in this section are all very conservative
in style; they deal with foundation principles and the effort has been
to present them in such a way as to leave considerable latitude for
adaptation to local style or personal taste.

A student should not be taught to make any particular style of
waist or skirt, for the sake of the garment alone, but she should be
given a comprehension of all that is fundamental in waist or skirt
making; this sort of garment making together ^^^th the the proper
conception of pattern drafting will result in real educational garment
making which will enable the girls to alter, adapt, modify or even
ignore the dictates of undesirable styles and exercise judgment, artistic
taste and real personality in handling their sewing problems.

245

MIDDY BLOUSE

MATERIALS.

Indian Head (Chap. I, Par.

21), or
Galatea (Chap. I, Par. 18).

2^2 to 3 yards of material

above.
V2 yard material for collar

and cuffs.
4 yards braid.
Tie.
Thread No. 70.

INTRODUCTORY STATEMENT.

For out of door sports like tennis, golf, etc., loose fitting gar-
ments which will give free play to all the parts of the body are very
necessary. The middy with unconfmed waist line makes a very
appropriate garment for this purpose. The middy is especially pop-
ular at the summer resort, but it is hardly suitable for wear in a
business office.

As it usually has to stand hard service, the favorite materials
used in making the middy are the heavy cottons, like Indian head,
and galalea cloth.

The project introduced here embodies most of the principles em-
ployed in making an unlined waist with a low collar; it gives good
practice in simple fitting, and in setting in sleeves which is one of
the important problems in dress making. The middy generally has
very little trimming consisting usually of flat braid on the collar,
pocket and cuffs. The collar gives individuality to the middy so
different colors are used, even flannel collars are sometimes used.
The favorite colors are red, blue and black. Care should be taken
to select these in fast colors only. The middy shown here is made
with a red collar trimmed with white braid.

References:

A\'*hat Dress Makes of Us, Dorothy Quigley. Dutton & Co., \. Y
What to Wear, Elizabeth Stuart Phelps. Houghton.

246

WORKING DIRECTIONS FOR MIDDY BLOUSE

PREPARING MATERIAL.

Shrink the white cotton material. If colored material is used,
soak it in a strong solution of salt water, to set the color. NOTE:
When colored material is used for the collar and cuffs of the middy,
be careful to select material which is dyed with a fast color. Red is
very likely to run; that is, the color comes out in the washing and
discolors the white material in the waist.

PREPARING THE PATTERN.

As commercial patterns in varying styles of middies may be
purchased, in sizes that will fit the average person, it would be desir-
able for you to use one in making this middy. However, you may
use a drafted pattern by modifying the draft for the shirt waist given
in Chap. IV. For a plain middy, allow the pattern to extend about
6" below the waist line. (Do not shape it in at the waist line). If
you wish to have a yoke in your middy, plan the depth and the shape
of it and draw it on the upper part of your waist pattern. Cut the
pattern in two on the line, and when you cut out the waist, allow extra
material on the edges for seams. As a middy usually has a pocket in
it which is set in on the wrong side you may measure down from the
shoulder 8Y2" and make an opening for the pocket about 2V2" long
perpendicular to the front edge of the pattern; place it about half
way between the armhole and the front edge. Use the draft for the
shirt waist sleeve, without fullness at the top. Cut off to the length
desired.

CUTTING OUT THE MIDDY.

After modifying the pattern, place the center front of the yoke
and the lower part of the middy on a fold of the material, wide
enough to cut the front in one piece. Place the center back of the
pattern on a fold of the material in the same way. Place the sleeves
with the crease in the center of the pattern parallel with the warp
threads of the goods. Pin all the patterns in place and cut out the
middy. Use a commercial pattern for the collar. If the collar is to
be made double, cut out the upper portion from the colored material
and the under portion from the white material.

Cut the cuffs the same length as the bottom of the sleeves, making
them about 21/2" wide at the ends and 3 " wide at the center.

247

JOINING SEAMS AND SETTING IN POCKET.

If the middy is made with a yoke, join the yoke to the lower
part of the waist with lapped, or felled seams, before joining the back
and front (make short crosswise cuts on the underturned edges of all
lapped seams around curves, to prevent puckering).

Cut the front yoke down the center front as far as you desire to
have it open at the neck. Fold back and cut away the extra material.

Set in the pocket before closing the seams. Cut one piece of
white material for the pocket 4"x5". Gut another piece 3y2"x4". On
the end of each sew a strip of the colored material 2"x4"; turn over
the faced ends about Vk" and turning in the raw edges of the opening
cut for the pocket, lay these ends over them on the wrong side, letting
them extend so they show as the piping on the right side. Stitch
along the edge of the opening; continue the stitching on the ends
and make parallel rows of stitching 1/2" each side of the opening for
the pocket. Turn the material to the wrong side and stitch the two
pieces together to form the pocket on the under side.

Felled seams may be used to join the shoulder and under-arm
seams. French seams may be used to join the sleeves. Pin and baste
the sleeves together on the right side. (If single cutTs are to be used
sew them on before basting sleeve as directed below.) After the
seams are basted, try on the middy. Fit it according to general sug-
gestions for fitting a waist in Chap. IV. Remember this garment
should not be fitted in at the waist line and should be rather loose
fitting in every way. Pin in the sleeves, adjust them to the proper
length. Remove the garment, rebaste on the line of fitting and finish
the seams. Sew the sleeves into the armhole with lapped seams.

THE CUFFS.

If the cuffs are turned back, separate from the sleeve, they
should be made double. To make them, first sew three parallel rows
of braid (as in the illustration) on the colored piece. Stitch the
colored material to the w^hite material along the top edge, open the
materials and stitch across the end, thus making a circular culf.
(^When this is stitched it should be the same length as the bottom of
the finished sleeve.) Turn it right side out. To sew it on the sleeve,
place it so the seam is even with the seam in the sleeve, with the right
side of the cufis on the wrong side of the material of the sleeve. Stitch
the two edges together. Fold the edge of the wrong side of the cutt
until it covers the stitching, baste and stitch on the sewing machine,
or hem by hand. Turn the cufi" back over the seam.

248

If you wish to make the cufT single, it should be made and joined
to the sleeve before the sleeve is sewed together. To do this, place
the straight edge of the cuff on the edge of the bottom of the sleeve.
Baste and stitch in place, turn in the raw edge of the top of the cutf,
and baste and stitch it to the right side of the sleeve. Baste and
stitch three parallel rows of braid near the top of the cuff, as in the
illustration; then make the seam in the sleeve, joining the ends of
the cuff in this seam (be careful that they are exactly even).

SETTING THE COLLAR.

Sew the lining and the top of the collar together, leaving the
edge around the neck open; turn to the right side, stitch on the braid
in parallel rows as in the illustration (if desired, emblems may be
used instead of braid). Place the center back of the neck of the
collar on the center back of the neck of the waist. Let the ends just
cross each other in front. Baste the collar to the neck of the waist,
turning the seam toward the wrong side. Trim the seam close and
finish with bias tape, stitched on both edges.

FINISHING THE BOTTOM OF THE MIDDY.

The bottom of the middy may be finished with a facing turned
to the right side and stitched in place, or, it may be finished with a
double piece about 4 " wide, sewed to the bottom of the middy, turned
up to the top and left loose.

A middy is sometimes finished with a hem; use a wide or a
narrow hem as desired.

249

TAILORED
WAIST

MATERIALS.

Dimity (Chap. I, Par. 15) or
Lawn (Chap. I, Par. 23) or
Madras (Chap. I, Par. 25) or
Percale (Chap. I, Par. 31).

2V2 yards of 36" material.

4 buttons.

Thread to correspond with.

material.

INTRODUCTORY STATEMENT.

The wearing of tailored suits has made the separate blouse a
necessity. The style of this separate blouse varies from the beautiful
lace, chiffon, net and fancy silk waists to the semi-tailored and the
strictly tailored or mannish shirt waists. While the strictly tailored
waist is worn with stiff collars and cuffs, it may be modified by
changing the shape of the collar and the style of the cuffs into a
much more comfortable and becoming garment.

The heavier materials used in making the shirt waist are linen^
percale, and similar materials. Lawn, voile, crepe de Chine, China
silk, dimity and organdie are some of the thinner materials fre-
quently used.

The white dimity waist shown in the illustration is a simple
modification of the regular tailored waist. The rolling collar takes
the place of the collar band, and the fitted cuffs take the place of the
stiffly starched cuffs which are usually fasten with links or cuff
buttons.

References :

Principles of Correct Dress, F. H. Winterburn.

The Well Dressed Woman, H. G. Ecob. Fowler & Wells Co.

250
WORKING DIRECTIONS FOR TAILORED WAIST

PREPARING MATERIAL.
Slirink the material if cotton goods is used,

CUTTING OUT THE WAIST.

A commercial pattern may be used for this waist. If it is used,
carefully study the guide chart and directions accompanying it. Or,
if desired, patterns for the waist and sleeves may be drafted accord-
ing to the directions given in Chap. IV.

If a drafted pattern is used there is no allowance made on the
front pieces for finishing, or lapping; these edges should be finished
before the waist is cut out; then the center front of the pattern should
be laid on the line where buttons and buttonholes are to be placed.
The front edges of the waist shown in this lesson are finished on the
wrong side with a facing or hem about 'SV2" wide, as shown in the
illustration.

The front of a shirt waist may be finished on the right-hand
side with a hem about IV^" wide, turned to the right side and stitched
1/4" from each edge, if the material is the same on both sides. If the
material is different on the wrong side, this edge may be finished
with a facing turned to the right side and finished as suggested for
the hem. The left-hand edge may be finished with a hem V2" or %"
wide.

If the waist is to be tucked, it may be tucked before laying on the
pattern, then cut out in the same manner as a plain shirt waist.

JOINING SEAMS.

A yoke should be fastened to the body of the waist with lapped
seams. The sleeves and under-arm seams may be joined with French
seams, while the shoulders should be joined with felled or lapped
seams. After the waist is basted together it should be tried on and
fitted (see suggestions for fitting a waist. Chap. IV). The bottom of
the waist is to be finished with a band or peplum, the extra material
below the waist line may be trimmed away at this time ( be careful
not to cut the waist too short). After fitting remove waist, rebaste
it if necessary and finish the seams.

FINISHING THE NECK.

With collar as shown in illustration. Cut a doubled strip of
material 3" wide at the ends and 21/2" wide in the back (cut this collar
out of scraj) material first and see that it sets properly before you

251

cut it from your waist material). Baste the ends and top edges to-
gether, with the center backs even, baste the under side of the collar
to the right side of the waist, letting the ends come out exactly even
with the front edge of the waist, as in the illustration (the neck curve
should be trimmed off the ends of these front pieces). Stitch in
place; turn the upper side of the collar over until it covers the stitch-
ing. Baste and stitch in place.

With collar band. Sew the two pieces of the collar band to-
gether on the top edge; baste the outside edge to the neck as pinned
in fitting; turn in and baste the inside edge over the seam formed;
keep it just opposite the outside edge. Turn in the ends and stitch
all around the collar band.

CUFFS.

Cuffs shown in lesson. Cut a strip for each cuff 6V2" wide and
long enough to allow the hand to slip through easily when the ends
are joined. As the cuff is made double, sew one edge onto the bottom
of the sleeve, which may be gathered a trifle if necessary. Turn in the
raw edge on the opposite side and fold it over to cover the stitching;
pin, baste and stitch in place. Sew the ends together with the seam
of the sleeve, tapering it off toward the hand.

Tailored Cuffs. Up from the bottom edge, cut an opening 41/2"
long 1" from the center back of the sleeve. Finish this opening with
a bound placket (Chap. II, Par. 161), varying it as follows: Before
stitching the second time trim off the inside thickness of the placket
to within V^" of the edge on the upper side; baste and stitch it flat on
the sleeve on the long edge and across the end at the top of the placket
opening.

To finish placket on the outside, cut a strip IVo" wide, and 2"
longer than the placket opening; make it pointed at one end, turn in
the raw edges; make the straight end even with the bottom of the
sleeve and one edge even with the upper edge of the placket. Baste
and stitch it in place. At the end of the opening make two parallel
rows of stitching across the placket.

For the cuffs, cut two strips of material 10" long and iS" wide;
cut two strips of heaiy cotton material the same length and half the
width (for interlining). Baste the piece of interlining to the wrong
side of each cuff, making it even on the edges. With the interlining
on the outside, fold the cuff double and stitch the two ends together.
Turn right side out and baste around the folded edges. Place the
edge of the interlined side on the bottom of the sleeve, making the

252

ends even with the edge of the placket. (If the cuffs are to be lapped,
allow the end of the cufT to come to the edge of the extension on
the under side of the placket; if they are not to be lapped, but joined
with cuff links, turn the extension piece back on the under side of
the sleeves and sew it in with the cuff). Baste and stitch the cuff in
place, gathering the sleeves into the cuff on the under side, if neces-
sary. Turn in the opposite edge of the cuff; pin, baste and stitch in
place on the right side of the sleeve. In the center of each end of the
cuff, V^" from the edge, work a buttonhole for the cuff link.

FINISHING THE BOTTOM OF THE WAIST.

With band. Gather the bottom of the back edge of the waist to
about 10", starting and finishing the gathers 2^2" from the under-
arm seams; gather the lower edge of the front pieces and draw them
up enough to make the bottom of the waist fit the band. Sew on the
band the same as directed for the tailored cuffs (omitting the inter-
lining of course). The band may be made loose and have a piece of
elastic run through it.

With tape. Baste and stitch a tape about W wide over the gath-
ers at the waist line in the back. Let the bottom of the waist hang
loose and extend about 4" below the waist line.

FASTENINGS.

Join the waist in front with buttons and buttonholes worked
lengthwise and barred at the ends (Chap. II, Pars. 135-136).

253

TAILORED SKIRT

MATERIALS.

Linen (Chap. I, Par. 40) or
Galatea (Chap. I, Par. 18) or
Indian Head (Chap. I, Par.
21).

Amount of material called
for in commercial pat-
tern, or if drafted pattern
is used, plan from the
pattern (the amount will
vary with the style of the
garment and the size of
the person).

Belting 2" longer than waist
measure.

6 snaps.

2 large hooks and eyes.

Thread No. 70.

INTRODUCTORY STATEMENT.

The tailored skirt is given in this section because it is the foun-
dation of all pleated or draped skirts. The principles involved in its
making must be mastered before one can hope to make the more
elaborate skirts. The beauty of the tailored skirt lies in the good
lines, careful machine stitching, and perfect fit of the garment.

The skirt in this lesson is made of Indian head, a smooth finished
material. Ratine or other rough finished goods should be reserved
until one has had considerable practice in sewing for it is very diffi-
cult to stitch the rough material.

If you succeed in making your skirt so it fits well, has the lines
of the seams running properly, is stitched nicely, and hangs evenly,
you may feel that you have laid a good foundation in j'^our training
for some of the more difficult problems of skirt making.

References ;

Needlework and Cutting Out, Kate Stanley.
Costume, Arden Holt.

254

WORKING DIRECTIONS FOR TAILORED SKIRT

PREPARING MATERIAL.
Shrink the material and the belting.

CUTTING OUT THE SKIRT.

A drafted pattern may be used for the style of skirt shown in the
illustration (See Chap. IV). If you desire to vary this skirt from the
plain skirt by pleating it, it is wise to use a commercial pattern. If
the commercial pattern is used, study carefully the guide chart and
directions which accompany it (it is a good plan to pin the pattern
together and fit it before cutting out the material).

If the drafted pattern is used for a skirt finished with a pleat in
front, as shown in the illustration, fold over the edge of the goods
lengthwise and place the center fold of the pattern as far from the
folded edge of the material as you desire the width of the pleat. The
other side of the front should be allowed to extend beyond the edge
of the pattern the distance which it will lap under the pleat. Remem-
ber, in cutting the back gores, to have the straight edge of the pattern
laid parallel with the warp threads.

SEAMS.

The seams on a tailored skirt may be finished in a variety of
ways. Heavy material is often stitched together in plain seams, the
seams being finished with overcasting. A neat way to finish such
seams on the right side is to press the raw edges on the under side
of the seam flat on the skirt; baste and stitch through them Vg" to V^"
from the seam on the right side.

To give a pleated effect at a seam, baste it in the usual way; lay
both raw edges of the seam flat against the wrong side and stitch
through them from the right side, making the row of stitching par-
allel with the basting; remove the basting and a pleat wall thus be
formed on the right side.

In basting seams, be careful to have the parts of the skirt exactly
even at the top; pin them together before basting and use small bast-
ing stitches near the top so they will not pull apart when fitted. It is
a good plan to hold the bias edges toward you when basting.

When fitting the skirt, follow the suggestions given in Chap. IV.

255

PLACKET.

For the placket opening under a pleat like the one shown in the
illustration, use a faced placket (Chap, II, Par. 163). For a placket
opening at the end of an ordinary seam, use the extension placket
(Chap. II, Par. 162). If the skirt is gathered, a bound placket (Chap.
II, Par, 161) may be used. Use hooks and eyes, or snaps, to hold the
placket closed. Large buttons with buttonholes are sometimes used
to fasten the placket and to form a trimming for the skirt,

FINISHING THE TOP,

The top of a tailored skirt is usually finished so it can be worn
outside of a shirt waist. Belting is used for this purpose. If the skirt
extends to the waist line, a narrow belting about 1" wide should be
used; if it is to be raised above the waist line, wider belting should be
used (the width of the belting will depend upon the distance the skirt
is to be raised).

Before sewing on the belting, fit it to the waist, turn back the
ends about 1", and sew on at least two strong hooks and eyes (use a
rounding eye and allow it to extend over the end of the belt as shown
in Chap. II, Par. 133). The belting should be hooked around the waist
allowing it to open at the same place the skirt is to open. Put on
the skirt and pin it to the belting near the center, or bottom edge so
the raw edges at the top of the skirt may be turned in at the top of
the belting.

Remove the skirt; if necessary trim off the top of the skirt, turn
in the raw edges, letting them extend about Vs" above the edge of
the belting; baste and stitch the skirt in place near the top edge of
the belting. (It maj'' be necessary to trim off the end of the extension
piece on the placket to make it fit in between the upper side of the
placket and the belting when the skirt is fastened together). The
raw edges at the end of this piece may be turned in and overhanded
together.

FINISHING THE BOTTOM.

NOTE: After the belt is adjusted, the skirt should be evened
around the bottom, using the skirt gauge or a yard stick as a guide.
The extra material may be turned back on the wrong side of the
skirt for a hem.

Baste the hem in place, as pinned, around the lower edge; make
it the width desired, using a strip of cardboard, or gauge, as a guide
in making it even. Turn in the raw edges, take up the extra fullness
in small pleats, baste and stitch the hem in position (the quilter

256

attachment on the sewing machine may be used as a guide in stitch-
ing this hem parallel with the bottom of the skirt). A second row
of stitches about ^A" from the first row is often used as an additional
decoration.

If there is not enough material on the bottom of the skirt to form
a hem, it may be faced by sewing a bias strip the width desired, to
the bottom of the skirt, turning it back and finishing it like a hem.

A fitted facing may be used if desired ; it may be sewed on in the
same manner as the bias strip.

257

HOUSE DRESS

MATERIALS.

Gingham (Chap. I, Par. 19) or
Percale (Chap. I, Par. 31).

Amount of material called for
in pattern, if commercial pat-
tern is used. If drafted pat-
tern is used, figure from the
pattern the amount of ma-
terial you will need, as it will
vary with the style of the
garment, the size of the per-
son, and the width of ma-
terial.

8 buttons.

Thread No. 70.

INTRODUCTORY STATEMENT.

Every girl should try to dress in keeping with the work that she
is doing. It would look very inappropriate to see an otlice girl at
work in an evening dress. It would look just as inappropriate to see
a woman or girl at work in the house dressed in worn-out finery.

As housework generally soils the clothes very quickly and a wool
dress is more or less difTicult to clean, house dresses made of wash ma-
terial which can be laundered as fretiuently as necessary are much
preferable.

A house dress should be made of good fast colored material, pre-
ferably in one piece, with very little trimming. White collars and
cuffs made of piquet, lawn, embroidery or a lace edge on the collar
made of the material of which the dress is made, or pipings or bands
of white piquet or contrasting color, make attractive trimmings on a
house dress. A nicely made house dress for a young girl would also
be appropriate for school wear.

The house dress in the illustration shows one type of the tailored
skirt combined with a simple shirt waist. This waist involves prac-
tically the same principles as are found in the middy except that it is
gathered into a belt at the waist line and is made with a different
style of collar and sleeve.

References:

Practical Drcssniakiii};, Mrs. J. Hoiifihten.
Home Dressniakinij, Annie Myers.

258

WORKING DIRECTIONS FOR HOUSE DRESS

PREPARING MATERIAL.

Shrink the material.

CUTTING OUT THE HOUSE DRESS.

For the house dress shown in the illustration, the drafted patterns
for the shirt waist, sleeves and plain gored skirt may be used (see
Chap. IV). As this is a four-piece skirt with a side front opening
it will be necessary to cut the front gore of the pattern double. To
make the side opening, measure from the center front 2" to the right;
fold the pattern, cut it lengthwise on the crease. The back may be
made in on piece by placing the center back of the back pattern on a
fold of the material; or, it may be cut in two pieces with a seam up
the center back. Be careful to allow for seams or pleats in cutting
out the skirt, if they have not already been allowed on the pattern.

Finish the front edges of the waist as desired before cutting out
the waist with a drafted pattern. The right-hand side of the waist
in the illustration is finished with a wide hem turned toward the
right side and stitched i/4 " from each edge. The left-hand side of the
opening is finished with a y2" hem turned toward the wrong side.

A commercial pattern may be used in making the house dress if
desired. If one is used, carefully study the guide chart and directions
which accompany it.

THE SEAMS.

The waist may be joined at the shoulder with lapped or felled
seams, finished on the right side. The under-arm seams and the
sleeves may be joined with French seams. The gores of the skirt may
be joined v^ith plain overcast seams if the material is firm, like ging-
ham, percale, or linen. French seams are used in gathered skirts, or
on thin material.

FITTING THE HOUSE DRESS.

Follow the suggestions given for fitting a waist and skirt in
CJiai). IV, (be careful to mark the waist line on the waist with pins).

SETTING IN SLEEVES.

The waist should be tried on, the edges of the armholes turnefl
in and the sleeves pinned in position so the top will hang straight
from the shoulder to the back of the hand, and so the under-arm
seam will hang straight from the arm's eve to the wrist. The waist

259

should then be removed and the sleeves basted and stitched in place
with lapped seams.

Set-in sleeves with gathers at top. Join the seams of the sleeves,
fold the armholes so the shoulder seams and the under-arm seams lie
together. Crease the fold formed on the back and front of one arm-
hole; place the seam of a sleeve in the armhole 2i/4" to 2^2" in front
of the under-arm seam. Pin the under part of the sleeve to the arm-
hole from the crease on the front to the crease on the back. Gather
the top of the sleeve between the two creases. Adjust the gathers
allowing the greatest fullness at the top of the sleeve. Baste it in
place. Try it on, see that it hangs as suggested for the plain sleeve,
stitch in the sleeves and finish with overcasting, or binding.

To bind the sleeve. Cut bias strips about "34" wide, stitch in one
edge when you stitch in the sleeve, trim the seam to about Yi" ; turn
in the raw edges of the binding on the other side and hem or stitch
in place. The bottom of the sleeves in this lesson are finished with a
double lengthwise strip of the material.

Sleeves are finished in such a variety of ways, however, that no
attempt is made here to explain any one method.

FINISHING THE NECK.

The simple turned-over collar shown in this lesson should be cut
from a commercial pattern and sewed together around the outside
edges. With the center back of the waist and center back of the collar
together, pin, baste and stitch the neck of the collar and the waist
together. Fold the upper edge of the collar over and turn under the
raw edges until it covers the stitching; pin, baste and hem or stitch
in place. These directions are suitable for any double collar. If a
single collar is used, sew it to the neck with bias tape.

JOINING WAIST AND SKIRT.

The dress in this lesson is joined with a band of material like that
used in making the waist. After the waist and skirt are completed
(with the exception of the bottom of the skirt) put on the waist, which
should be gathered at the waist line; adjust the gathers in the waist;
trim off extra material below waist and put on the skirt. With both
edges of the band turned under, i)in the lower edge to the skirt an<l
the upper edge to the waist. (Make the skirt even around the bottom
and turn up the extra material.) Remove the dress, cut away the
extra material under the band, leave the bottom of the waist extend-

260

under side pin and baste a strip the same width as the band (tor a
lining) ; stitch this lining in place.

FINISHING THE BOTTOM OF THE SKIRT.

Baste the hem in position, as marked, make it even, using a gauge
or strip of cardboard as a guide; lay the extra fullness in small pleats,
pin, baste and stitch the hem in place.

FASTENINGS.

The house dress in the illustration is fastened with buttons and
buttonholes; snaps or hooks and eyes may be used, instead of but-
tons if desired. (Do not use snaps on the belt.)

261

SCHOOL DRESS

MATERIALS.

Linen (Chap. I, Par. 40) or
Percale (Chap. I, Par. 31) or
Gingham (Chap. I, Par. 19).

Amount of material called
for in commercial pattern.

Thread No. 70.

Fastenings necessary, ac-
cording to style of dress.

Belting, 2" longer than
waist line.

INTRODUCTORY STATEMENT.

During their school days, girls are forming habits that will last a
life time. It is very essential that they get into the habit of dressing
appropriately for school. The schoolroom is the school girl's place of
business and she should take just as much pride in coming there prop-
erly dressed as the successful business girl does in appearing properly
dressed for her work. A girl should learn to distinguish between what
is appropriate and what is inappropriate to wear. This can be done
only by observation and thoughtful study of the problem.

The well dressed girl will avoid enormous bows on her hair,
extremely low cut necks in her dresses, over trimmed effects and
gaudy or too striking combinations of colors. The school dress should
be comfortable, neat and attractive; it should be made on very simple
lines, preferably in one piece so there will be no danger of it "appear-
ing in two parts" at the waist line. Summer dresses for school are
appropriately made of plain finished cotton materials like ginghams,
percales, chambrays or linens. Serge and panama are very practical
fabrics for winter dresses.

The dress in this lesson is made of dark gingham, trimmed with
white braid. The white trimmed collar and cuffs give a clean, cool
appearance to the dress.

References:

Dress, Mrs. Oliphant.

History of Development of Dress, A. C. Johnson.

262
WORKING DIRECTIONS FOR SCHOOLJDRESS

PREPARING MATERIAL.

If the material is colored, soak it in salt water to set the color;
if not, shrink it,

THE PATTERN.

The dress in the illustration is made after the so-called Peter
Thompson style of dress. When you have completed the work of the
first five sections, you should be able to make this sort of d^ess very
satisfactorily. The directions given for this dress are for a cotton
dress. (If you wish to use wool material for your dress, follow the
directions for making a wool dress). It will be advisable for you to
use a commercial pattern in making this dress. (You will find it very
helpful and interesting to draft a pattern and modify it into one
similar to the one you have selected for your dress.)

CUTTING OUT THE MATERIAL.

Study the guide chart and directions accompanying the com-
mercial pattern. Where notches are necessary, be careful to make
them very small; plan your material economically.

SEAMS AND PLEATS.

Where a tailored effect is desired, use felled or lapped seams.
If the skirt is to be gathered, materials like linen, gingham or percale
should be joined with overcast seams.

Any pleats which the pattern indicates may be marked on both
sides of the skirt at the same time by basting through the perforations
which indicate the pleats (with long uneven basting stitches) through
both thicknesses of the material. When you remove the pattern, cut
the basting threads and lift one piece of the material away from the
other about V2" ; cut the threads between them, leaving a row of cut
threads on each piece of material. As a rule, pleats should be basted
in place before joining the gores of the skirt.

TO MAKE EYELETS FOR LACING.

The back of the skirt, shown in the illustration, is laced with braid
drawn through eyelets.

To make an eyelet. With a stilletto (a pointed bone or steel
punch used in embroidery work) punch a small hole in the goods,
gradually enlarge it (being careful not to break the threads in the
material) until it is the size desired. With thread to match the ma-

263

terial, sew over and over around the opening occasionally enlarging it,
or keeping it in shape with the stilletto.

FITTING.

When you have decided on the kind of seams most suitable to
use in your dress, baste it together, laying in pleats where necessary.
(Be careful to have the gores of the skirt even at the top; pin them
together before basting; use small basting at the top of the seam, or
any place where there is likely to be any strain in fitting, which
might pull the basted seams apart.) After the garment is basted, try
it on and fit it as directed in Chap. IV.

SLEEVE.

A sleeve like the one shown in the illustration should have the
pleats at the bottom sewed in, also the cuff braided and set on, before
sewing it together. As they are plain at the top, the sleeves should
be set in with lapped seams (be careful that each sleeve hangs straight
from the shoulder to the back of the hand, and that the under-arm
seams hang straight from the curve of the arm's eye to the front of
the wrist).

SAILOR COLLAR.

The sailor collar should be braided and lined before it is sewed
to the w^aist. To sew it on, place the center back of the lining on the
center back of the waist, pin, baste, and sew it to the neck of the
waist with a Vi" seam. Turn this seam inside the collar and fold the
right side of the collar over it, turn in the raw edges to cover the
stitching, pin, baste and hem it around the neck.

THE YOKE.

The yoke should be braided, lined on the back, and hemmed to
the waist on the right side with small stitches, as shown in the
illustration.

JOINING THE WAIST AND SKIRT.

The dress in this lesson is joined with a band of the same ma-
terial, a very common method of joining dresses of this character.
The belt should be cut long enough to extend around the waist and
allow for the extra length necessary to open the skirt on the side.
Take a piece of soft belting, the width desired for the band, tit it to
the waist, turn back the ends, sew on hooks and eyes (use the round
eyes and let them extend over the end of the belting, as showTi in
Chap. II, Par. 133). Hook the belt around the waist, letting it open

264

at the center front; put on the waist, pin it to the top of the belting
and trim away the extra material; put on the skirt and pin it to the
lower part of the belt, leaving loose the edge which must extend
beyond the center front; turn in the edges of the material cut for the
belt, and line the end which is to be fastened to the loose edge of the
skirt. Pin it in place over the skirt and waist; make the skirt even
around the bottom and remove the dress; baste the belt where it has
been pinned and stitch it in place. (This is a different method than
the one given for joining the house dress.)

FINISHING THE BOTTOM.

After the skirt has been evened at the bottom, baste it along the
bottom as indicated by the pins; even the hem, using as a guide a
strip of cardboard cut the desired length; pin, baste, turn in the raw
edge and stitch the hem in place, laying in the extra fullness in
small pleats.

FASTENINGS.

A dress of this kind may be fastened with buttons and button-
holes, with snaps or hooks and eyes. (Do not use snaps on the belt.)

TRIMMING.

A school dress may be trimmed very appropriately with bias
folds of contrasting material, with pipings, or with buttons. Lace
should not be used.

265

WOOL DRESS

MATERIALS.

Serge (Chap. I, Par. 62) or
Panama (Chap. I, Par. 61).

Amount of material called
for in commercial pattern.

Trimmings appropriate for
design selected.

Belting, 2" longer than
waist measure.

Hooks and eyes, and snaps.

Silk thread to match ma-
terial for stitching.

Cotton thread for basting.

Braid (mercerized) for skirt
binding.

INTRODUCTORY STATEMENT.

While many women and girls prefer to wear a separate blouse
with a tailored skirt in the winter time, most of them feel the need
of at least one wool dress. Most of the principles that apply to the
making of a cotton dress can be used in making a wool dress, but
as there are some things that must be emphasized in making up wool
materials which do not require consideration with cotton materials,
it is well worth while to study this lesson on the making of a wool
dress in order to bring out some of these points. The kind of ma-
terial used in making the dress, as well as the style in which it is to be
made, will depend on the kind of service it is to give. Care should be
taken to see that the color selected is becoming and that the style
planned is suitable for the figure of the one who is to wear it. If
thoughtful consideration is given on these points, much greater satis-
faction will be found in the completed garment.

The woolen materials for winter are usually dark in color and
for that reason are less likely to be becoming to the average com-
plexion; this makes it necessary to exercise some care in the selection'.
The above dress is made of dark blue wool serge trimmed with white
silk braid and a white collar. The white against the face with the
blue background makes it exceedingly becoming to a girl with dark
eyes and black hair.

References:

Color Harmony in Dress, George Ashdown.
Wool, Journal of Education, Vol. XLV.

McBride, Nast Co., N. Y,

266

WORKING DIRECTIONS FOR WOOL DRESS
PREPARING MATERIAL.

Many of the better grades of wool material are sponged and
pressed so they will not spot when wet. This is usually indicated on
the selvage. It is advisable to look on the selvage to see that this
has been done; if it has not, sponge and press the material yourself,
as directed in Chap. Ill; or you may have it done at a dry goods
store or a tailor shop. Unless this is done, shiny finished materials
like broadcloth are very likely to spot when pressing the scams in
making, and afterwards if a drop of water falls on them.

GUTTING OUT THE GARMENT.

A commercial pattern should be used unless the dress is made
in a very simple style, when the drafted pattern may be used. If a
commercial pattern is used, carefully study the guide chart and
directions which accompany it.

FITTING THE GARMENT.

After the garment has been cut out, baste it together and lit it
according to suggestions in Chap. IV,

JOINING AND FINISHING THE SEAMS.

The kind of seams used in joining a wool dress will depend
considerably on the style of the garment. If a tailored effect is de-
sired, lapped or stitched felled seams should be used. In a garment
where the seams should be inconspicuous, as in a circular or gath-
ered skirt, use the overcast seams or finish them with binding ribbon
or bias tape on the wrong side.

To finish a seam with binding ribbon, press it open by dampen-
ing it on the wrong side with a wet cloth and pressing it with a
warm iron. Fold the binding ribbon together, allowing one edge
to extend beyond the other about Vg". Press it with an iron. Place
the binding ribbon over the edge of the seam with the wider part
on the under side of the seam. Sew both edges of the ribbon in place
at the same time with running stitches.

To finish a seam with commercial tai)e, press open the seam of
the skirt as directed above. Crease the ta])e in the center with the
iron. Baste one edge of the tape to the under side of the seam with
small stitches, so the center crease will lie over the edge of the seam.
Raste the opposite edge of the bias lape to the ui)per side of the seam

267

and stitch it on the machine. (With practice the second basting will
be unnecessary).

Seams that are not pressed open should be overcast together.

Seams of felted materials like broadcloth which do not ravel,
may be notched with the scissors.

JOINING WAIST AND SKIRT.

After the waist is completed, except at the waist line, and the
skirt is finished, except making it even at the bottom, the two may
be joined.

If the dress is long waisted, like the one shown in the illustra-
tion, the bottom of the waist may be turned under, basted over the
top of the skirt and stitched flat.

If there is to be' a girdle on the dress, join the waist and skirt
in this manner: Fit the belting to the waist, turn back and stitch
the ends and sew on as many strong hooks and eyes as are necessary
to keep it from gaping (use the round eyes and let the eyes extend
over the edge of the belt, as directed in Chap. II, Par. 183). Hook
the belt around the waist, put on the waist, adjust the gathers at the
waist line and pin the bottom of the waist to the top of the belting.
Put on the skirt and pin the top of it to the lower edge of the belting.
Remove the dress, baste and stitch the waist and skirt to the belting;
cover the raw edges by hemming a strip of material over them.

NOTE: When the skirt and the waist do not open at the same
place, have the belting open with the one where it seems most con-
venient. If part of the waist, or part of the skirt cannot be fastened
to the belting, it should be faced or finished with a band, and held
in its proper place with hooks and eyes, or snaps.

The girdle may be made separate or it maj^ be fastened to the
dress. If it is fastened to the dress, it is not necessary to cover the
raw edges of the waist and skirt on the belting with the strip of
material suggested above. If the dress is to be finished without a
girdle, hook the belting around the waist, adjust the fullness at the
waist line of the waist and pin it to the top of the belting; cut off the
extra material. Pin the skirt to the bottom of the belting in a few
places, turn in the top edge, place it over the gathers in the waist
and pin it in place with the edge a trifle above the top edge of the
belting. Remove the dress, baste and stitch the top of the skirt to the
waist and belting.

THE FASTENINGS.

The wool dress is usually fastened with hooks and eyes, or
snaps. (Remember snaps should never be placed where there is
much strain on them as they will pull apart).

268

TRIMMINGS.

Silk braid is a trimming which is often used on wool dresses.
It may be basted in place and stitched on the edges with the sewing
machine. Soutache braid may be sewed on in the same way witii
one row of stitching in the center.

FINISHING THE BOTTOM OF THE SKIRT.

After the skirt is evened at the bottom, baste the bottom of the
hem as marked; trim the hem off even and sew bias tape on the
top of it, as in binding seams. The fullness in the top of the hem
may be removed by holding the tape tight as you sew. Press the top
of the hem using a damp cloth (press it until it is dry); baste and
stitch in place.

Broadcloth and similar felted material may be notched at the
top of the hem, then the hem may be stitched in place. The hems of
light weight materials that ravel easily may be finished by turning in
the raw edges, pleating in the extra fullness, basting, and stitching
them in place.

269

SILK DRESS

MATERIALS.

Foulard (Chap. I, Par. 74), or
Taffeta (Chap. I, Par. 78).

Amount of material called for
in commercial pattern.

Belting 2' longer than waist
measure.

Silk thread to match material.

Trimmings suitable for this
style of dress.

INTRODUCrORY STATEMENT.

Of all the fabrics, silk is considered the most beautiful. As it
is more or less expensive and will not stand the hard service to which
every day garments are subjected, it is usually reserved for the
making of gowns which are to be worn on special occasions.

Silks are frequently made up in very simple styles which are
suitable for street wear. The darker shades of foulards, tatletas,
crepe de Chines, moires or messalines are all suitable for this purpose.
When silk materials are combined with fancy trimmings they are
suitable for afternoon or evening wear. The delicate colored silks
should be used for party dresses.

A silk dress made after the fashion of the dress shown in the
illustration is suitable for street wear or semi-dressy occasions.

The style of a dress of this sort varies considerably from season
to season; it is therefore necessary to use judgment in adapting the
changing styles to your personal needs.

References :

Silk, Journal of Education, Vol. XLV.
SilU Industry in America, L. P. Brockett.

270
WORKING DIRECTIONS FOR SILK DRESS

SELECTION OF MATERIAL.

Until you have had a great deal of experience in sewing, it will
be wise for you to select silk materials with enough body to keep
them from pulling and slipping when you are w^orking with them.
Materials like foulard or tafTeta will be most suitable. Materials like
crepe de Chine are very difficult to work with and should not be
used until you have become skillful in dressmaking.

THE PATTERN.

The design shown in this lesson offers a good way to make over
last year's dress by the combination of two materials. For your
dress, it will be well to select a simple design in which you can
give beauty to the garment by the perfection of your work. Use a
commercial pattern.

CUTTING OUT THE DRESS.

Study carefully the guide chart and the directions accompanying
the pattern; pin the pattern to the material carefully and use very
sharp shears to cut out the garment. (Dull shears will pull the silk;
if you have this difficulty, put a piece of newspaper under the silk
and cut it with the silk.)

LININGS.

While fitted linings are not used as commonly as they previously
were, semi-fitted linings are often used in the waists of silk dresses.
Net, china silk and seco silk (a thin, mercerized cotton material) are
most generally used for this purpose.

THE SEAMS.

A lined waist should be sewed together with plain seams. The
lining should be sewed up separately from the waist and the seams
turned inside so it will not be necessary to finish either the seams
of the waist or the lining. For unlined silk waists, overcast or
French seams may be used.

For gathered skirts, French seams are generally used. Where
a more tailored effect is desired, plain seams may be stitched about
l^" from the seam on the right side. Soft materials are often stitched
over tissue paper, or newspaper, to keep the stitching from drawing
or fulling the silk. You should see that the point of the machine
needle is sharp, as a blunt needle will pull the threads of silk.

271

Machine hemstitching is often used to join seams in the waist,
excepting the under-ami seams. If you wish to send this work to a
professional, baste all the seams before sending the garment to be
hemstitched.

FITTING.

After the seams are basted, try on the dress and fit it, following
the suggestions for fitting in Chap. IV. (Be very careful that the
dress is fitted so there is no strain on the silk in any part; be especi-
ally careful about the sleeves at the elbows and the skirt at the hips.)

SETTING IN THE SLEEVES.

The sleeves should be finished before they are stitched in. They
may be set in the armhole with a plain overcast seam; they may be
set in with hemstitching as suggested in a previous paragraph, or
the armholes may be finished with cable cord. To do this, cut bias
strips about %" wide, lay the cable cord (the size desired) on the
wrong side of the strip. Sew the cable cord in with running stitches.
Turn in the edge of the armhole and baste in the bias strip, letting
the covered cable cord extend just beyond the edge of the armhole.
Lay the top of the sleeve in as if you were going to make a lapped
seam. Baste it in place; stitch, using a presser foot especially de-
signed for this work (if your machine has this presser foot).

THE NECK.

If the dress is made with a fitted collar, pin on the collar before
trimming out the neck. If a yoke, or guimpe, is used with the dress,
join the collar to the neck by stitching it ilat on the yoke; trim the
raw edge down to about ^A" and overhand over it, making a tiny
rolled seam on the wrong side.

Such a collar should be stayed to keep it up around the neck.
Sew one collar stay about IV^" each side of the center front of the
collar allowing it to slant back slightly at the top; sew another one
on each side, even with the shoulder seam, and one on the under
side of the back opening.

PLACKETS.

Where the opening comes under a pleat in the skirt, use a faced
placket (Chap. II, Par. 163). Use a bound placket (Chap. II, Par. Kil )
in a full skirt.

JOINING WAIST AND SKIRT.

The dress in this lesson may be joined with a band of the ma-
terial. The belt should be cut long enough to extend around the

272

waist and allow for the extra length necessary to open the skirt on
the side. Take a piece of soft belting, the width desired for the band,
fit it to the waist, turn back the ends and sew on hooks and eyes (use
the round eyes and let them extend over the end of the belting, as
shown in Chap, II, Par. 133). Hook the belt around the waist, letting
it open at the center front; put on the waist, pin it to the top of the
belting, trim away the extra material; put on the skirt and pin it to
the lower edge of the belt, leaving loose the edge which must ex-
tend beyond the center front; turn in the edges of the material cut
for the outside belt, line the end which is to be fastened to the loose
edge of the skirt. Pin it in place over the skirt and waist, even the
skirt at the bottom; remove the dress, baste the belt where it has
been pinned and stitch it. Make the wide silk belt shown in this
lesson separate and sew it over the other by hand.

FASTENINGS.

The placket and other openings in the dress may be held together
with hooks and eyes and snaps. (Remember that snaps should not
be placed on the belt, or any place where there is a strain that will
pull them apart.)

FINISHING BOTTOM.

After the skirt is evened at the bottom, turn up the hem, baste it
around the bottom edge, even it to the width desired (about 3" to 5") ;
turn in the raw edge, pin and baste in place, gathering in the extra
fullness or removing it with tiny pleats. Sew the hem in place by
hand with hemming stitches.

273

LINGERIE
DRESS

MATERIALS.

Organdie (Chap. I, Par. 29)
or

Lawn (Chap. I, Par. 23) or
Handkerchief Linen (Chap.
I, Par. 46).

Amount of material called
for in commercial pattern.

Suitable trimming for style
selected.

Belting 2" longer than waist
line.

Thread No. 90.

INTRODUCTORY STATEMENT.

The long hot days of summer afford an opportunity for a girl to
wear pretty lingerie dresses made of the exquisite organdies, Swisses,
mulls, dimities, voiles, and lawns which are so universally becoming.
If a girl is able to make her own dresses and has the time to do it,
she can have a variety, for very pretty ones can be made with small
cost if there are no dressmaker's bills to pay.

The tall, slender girl may make an attractive appearance when
thin summer dresses are in vogue, for the ruffles used so much in
trimming them will appear to lessen her height and thus give her a
better proportioned figure. The girl who is inclined to be short and
stout should select materials with stripes and make them up length-
wise (up and down), avoiding ruffles or trimming with stripes run-
ning around. She should also avoid any sort of striking girdle.

The dress in this lesson is planned to bring in as many as possible
of the special features necessary in the making of any lace trimmed,
thin dress. Notice that this dress is designed for a tall, slender girl.

References:

Beauty in Dress, Oakey.

Lessons in Garment Drafting, Gingles. Seeniann & Peters, S;i.nina\v,

274

WORKING DIRECTIONS FOR LINGERIE DRESS
PREPARING MATERIAL.

Many people object to shrinking fine organdie, because it takes
off a little of the new look. If you do not shrink it, you should make
allowance for lengthening the skirt and waist after the dress is
laundered.

SELECTING THE PATTERN.

Before making a dress similar to the one shown in this lesson,
you should have had considerable experience in making plainer
dresses; if you have not, select a less elaborate style for your dress.
Use a commercial pattern.

CUTTING OUT THE DRESS.

Study carefully the guide chart and directions accompanying the
pattern; cut out the dress according to directions. NOTE: In making
this dress you should be very careful to keep the table and machine
carefully dusted so you will not have to launder the dress as soon as
it is finished. Wear a white apron and keep your hands scrupulously
clean.

THE SEAMS.

The parts of the w^aist in a dress of this character should be

joined with very tiny French seams. As the skirts are usually

gathered, or pleated, they also should be joined with tiny French

seams.

TO SET IN LACE INSERTION.

Lace insertion in a waist similar to the one in the lesson should
be set in before the seams are joined. To do this, baste the lace
insertion on the waist in the desired position, mitering the corners
where necessary. Stitch it on both edges. Cut out the material
under the insertion leaving about i/4" of the cloth extending under
the insertion; fold this back and stitch it in place, or after it is folded
back, sew it into a tiny roll with tightly drawn overcasting stitches.
Buttonhole the mitered corners.

Handmade lace should be sewed in place by hand with fine
running stitches and the under side finished as suggested above.

TUCKS.

The tucks used on a dress of this character should be very dainty;
they are usually called pin tucks; the finer they ai'e made the prettier
the appearance. They may be made with the tucker on the sewing
machine. Before trying to use the tucker, study the directions given

275

in the book which accompanies the sewing machine and practice
making the tucks on a small piece of cloth.

Tucks which end in the body of the material will have loose ends
of thread. These threads should be drawn through to the wTong side
and tied in a hard knot; the extra thread may be cut ofT.

Tucks in the cufT or sleeve are usually made before joining tne
seams. Care should be taken to have them evenly spaced and even
in width where they are to be joined. The tucks in the ruffle of the
skirt are usually put in after the ruffle is joined.

Tucks are sometimes made by hand with fine running stitches.
They look attractive, but it requires a long time to make them.

FITTING THE DRESS.

After the seams are basted, the garment should be tried on and
fitted according to directions in Chap. IV.

SLEEVES.

Set-in sleeves may be sewed into the armhole with plain over-
cast or French seams. Machine hemstitching is a very dainty way
to set them in; seam beading gives much the same appearance as the
hemstitching. Set it in with tiny French seams, or plain overcast
seams.

JOINING THE WAIST AND SKIRT.

As this style of dress is usually finished at the waist line with a
girdle of ribbon or silk, it may be joined in the following manner:
Fit the belting to the waist, turn back and stitch the ends and sew on
as many hooks and eyes as necessary to keep it from gaping (use
the round eyes and let the eyes extend over the end of the belt, as
directed in Chap. II, Par. 133.) Hook the belt around the waist, put
on the waist, adjust the gathers at the waist line, and pin it to the
top of the belting. Put on the skirt and pin the top of it to the lower
edge of the belting. Remove the dress, baste and stitch the waist and
skirt to the belting; cover the raw edges by hemming a strip of
material over them.

NOTE: When the skirt and the waist do not open at the same
place, have the belt open with the one most convenient. If part of
the waist, or part of the skirt cannot be fastened to the belting, it
should be faced or finished with a separate band, and held in its
proper place with hooks and eyes, or snaps.

The girdle may be made separate, or may be fastened to the
dress. If it is fastened to the dress it is not necessary to cover the
raw edges of the waist and skirt on the belting with the strip of

27()

material suggested above. If the dress is to be finished witliout a
girdle, hook the belting around the waist, adjust the fullness at the
waist line and pin it to the top of the belting; cut off the extra
material. Pin the skirt to the bottom of the belting in a few places,
turn in the top edge, place it over the gathers in the waist and pin
it in place with the edge a trifle above the top edge of the belting.
Remove the dress, baste and stitch in place.

BOTTOM OF THE SKIRT.

When the bottom of the skirt is to be finished with a ruffle, even
the skirt around the bottom the distance from the floor necessary to
make it the right length when the ruffle is sewed on. If more than
one ruffle is to be placed on the skirt, sew on the bottom ruffle with
a felled seam; lay the skirt on an ironing board or table and pin the
second rufTle so the bottom edge will overlap the top and will be par-
allel with the bottom of the first ruffle. Continue in this manner until
all the ruffles are sewed on. If the top of the upper ruffle is not
concealed at the waist line, the raw edges should be turned in and
the edge finished with a. small heading, which may be used as a
finish for the top of the rufTle when it is sewed on the skirt.

The lace on the edge of the ruft'les should be sewed on by hand,
but it may be stitched flat on the edge with the machine. The lace
trimming on the waist should be sewed on by hand.

FASTENINGS.

A lingerie dress may be fastened together with tiny buttons and
buttonholes, or small snaps with hooks and eyes at the belt.

THE GIRDLE.

As each season brings its new fads for girdles and sashes, no
attempt is made here to give directions for making a girdle. Patterns
may be obtained with directions for making. One girdle or sash
may be used for several dresses.

277

GYMNASIUM
SUIT

MATERIALS.

Serge (Chap. I, Par. 62) or
Flannel (Chap. I, Par. 59)
or

Sateen (Chap. I, Par. 32).

Amount of material called
for in commercial pattern.

Thread to match material.
Fastenings.

INTRODUCTORY STATExMENT.

In order to get the full benefit of the physical training given in
the gymnasium, it is necessary to be dressed so that every part of
the body may have perfect ease and freedom of motion. The gym-
nasium suit of some sort, with its short skirt or bloomers, is de-
signed to fill this need.

Bloomers are often vs'orn with a cotton middy, but a suit made
in one piece is very desirable.

Woolen material is generally used for gymnasium suits, although
sateen, silk and brilliantine are also satisfactory. The woolen ma-
terial is particularly desirable because it is a poor conductor of
heat and for this reason one is less likely to take cold after violent
exercise because it does not allow the body to cool too rapidly.

The gymnasium suit shown in this lesson consists of a waist
and bloomers joined at the waist line with a band, thus forming one
continuous garment.

References :

Hygiene of Clothing, The Care of the Body, Cavanagh.
Personal Hygiene, Pyle.

278

WORKING DIRECTIONS FOR GYMNASIUM SUIT

THE PATTERN.

If desired, a commercial pattern may be used to make a gym-
nasium suit. A middy blouse may be substituted for the waist which
is joined to the bloomers. If this is done, the bloomers should be
joined to a band.

With careful planning on your part, the waist of the gymnasium
suit shown in the illustration may be cut from a plain shirt waist
pattern; the bloomers may be cut from a drawer pattern by allowing
extra length and fullness. The back of the waist may be cut like
the shirt waist pattern, with a square neck; the front, you will notice,
has a square neck and is opened by unbuttoning the gathered piece
which is fastened in a band and buttoned to the side fronts of the
waist. To cut the front from a waist pattern, cut the neck square
and add about 3" to the front of the pattern for fullness; the sleeves
are cut short and made full at the top.

CUTTING OUT THE SUIT.

If a commercial pattern is used, study carefully the guide chart
and directions which accompany it. Cut out your suit according to
the directions.

If you wish to make a suit like the one shown in the illustration,
by using a shirt waist pattern, cut the back piece with the center back
of the pattern on the fold and the front piece the same allowing the
folded edge to extend about 3" beyond the front edge of the pattern.

To make the flap which is gathered into the band in the front of
the waist, cut down from the neck on each side of the waist to
within about 2" of the waist line. If the drawer pattern is used for
the bloomers, lay pleats in the material the length desired for the
bloomers and cut them out; allow several inches on the folded edge
of each leg for gathered fullness, making them enough longer than
the pattern to allow them to come well below the knees.

THE SEAMS.

As a suit of this sort is subjected to considerable strain, it
should be joined with strong seams. The French seams, or felled
seams, are suitable for this purpose.

FITTING.

After the seams are basted, try on the garment and fit it very
loosely. As it is very essential for the body to move freely in every

279

(lireclion in athletic work, the garment worn in a gymnasium should
he very easy fitting in every part. After the garment is fitted, re-
move it and finish tlie seams.

FINISHING THE NECK AND FRONT.

If you wish to finish the neck in your gj'^mnasium suit like the
one shown in the illustration, cut a piece of material ahout V/2"
wide to fit the neck and extend down the front of the waist. Finish
the raw edge around this strip with a bound placket on each side
(Cliap. II, Par. 161). Cut a band about 2I/2" wide, and long enough
(plus seams) to fit across the opening at the neck; turn in the ends,
gather the material on the loose front piece into this band, baste and
stitch the gathers in place in the band (Chap. II, Par. 142).

THE SLEEVES.

Make a band 4" wide for each sleeve. Join the ends of each
band with plain seams. Join the sleeves with French seams and
gather the bottom of each sleeve into the band (Chap. II, Par. 142);
when the band is completed it should be double.

The sleeves shown in the illustration are gathered at the top.
The following is a good method to use when setting in this style of
sleeve: Fold the armholes of the waist so the under-arm seam and
the shoulder seam lie together. Crease the fold formed on the front
and back of the waist. Place the seam of the sleeve about 2^4" to
2V2" in front of the under-arm seam. Pin the lower edge of the
under part of the sleeve to the armhole from the crease in the front
of the armhole to the crease in the back. Gather the remainder of
the sleeve and adjust it to the upper part of the armhole, allowing
the greatest fullness to come at the top of the shoulder. Baste and
stitch in place. Overcast or bind the seams on the wrong side.

If you make plain sleeves, they may be set in with lapped seams.

THE BLOOMERS.

The bloomers should be gathered or pleated at the top to fit a
band which is to join the garments at the waist line (this band should
be loose). Finish the bottom of the bloomers with a '2" hem; gather
in the fullness in each leg with an elastic band tight enough to keep
the leg from slipping.

JOINING THE WAIST AND BLOOMERS.

.loin the waist and bloomers in the following manner: (Ait two
strips each 2^" wide and as long as a loose waist measure; put on

280

the waist which should be gathered at the waist line; adjust the
gathers in the waist; trim off extra material below waist and put on
the bloomers. With both edges of the band turned under, pin the lower
edge to the bloomers and the upper edge to the waist. Remove the suit,
cut away the extra material under the band, allowing the bottom of
the waist to extend about % " below the top edge of the band; baste
in place; line the band on the wrong side by pinning and basting a
strip the same width as the band over the raw edge; stitch it in place.
After the suit is joined at the waist line an extra strip the same
width as the band and 9 " long, may be cut double. The edges of this
should be turned in and it may be stitched to the front of the band
(as in the illustration) for trimming. A button is placed at each end.

FASTENINGS.

The gymnasium suit in this lesson is fastened with buttons and
buttonholes and snaps.

POCKET.

The pocket is sewed to the front of the waist on the left-hand
side. Two rows of parallel stitching serve as trimming and also hold
it firmly in place.

281

COAT

MATERIALS.
Wool (Chap. I, Par. 50).

Amount of novelty coat
cloth called for in the
commercial pattern.

Binding ribbon.

Silk thread to match ma-
terial.

Buttons (large).

INTRODUCTORY STATEiMENT.

In summer or winter some kind of outside wrap is necessary.
A suit coat, as a rule, does not look well with a dress of different
color or material, so the separate coat is almost a necessity. As it
is worn over a dress it is made comparatively loose. The materials
and styles used in making the coat seem better suited to the ability
of the inexperienced seamstress than those used for a suit. For this
reason a girl who might find a coat suit too great an undertaking
may be able to make a very attractive looking coat.

In making the coat a very simple style should be selected. The
rough finished or wooly materials which are heavy enough so as
not to require a lining will be found most satisfactory for this coat.

The coat in this lesson is an easy coat model for a girl to make,
but any similar model can be made as satisfactorily, if sufficient care
is taken with every step.

References:

The .American System of Dressmaking, Kansas City, .Mo.
Practical Dressmaking. Macmillan Co.

282

WORKING DIRECTIONS FOR COAT

THE PATTERN.

Tailoring is considered one of the most difficult branches of
garment making. Light weight materials which require interlinings,
padding, and linings call for skill which the young seamstress, as a
rule, has not acquired. For this reason, in making an outside gar-
ment you should select material which will not require lining. A
loose fitting, unlined coat may be made very satisfactorily. Use a
commercial pattern, but be careful to select a simple style.

CUTTING OUT THE GARMENT.

Study the guide chart and directions accompanying the pattern
and follow the directions in cutting out the coat. Notice whether
the nap of the goods lies in one direction; if it does, be careful to
have the nap running down on all the parts of the coat. Great care
will be necessary in cutting out this garment as it is rather dilficult
to cut straight even edges on heavy material.

SEAMS.

If the material does not show a tendency to ravel, the coat may
be finished with felled seams finished on the right side without
turning in the raw edges of the material. If the material ravels, turn
the seams toward the wrong side and bind the raw edges with binding
ribbon; then stitch them in place (the seams should be about %"
wide.)

To bind the seams. Fold the binding ribbon so one edge extends
a little beyond the other. Crease it with a warm iron. Lay the wider
part of the binding ribbon on the under side of the seam and with
the crease lying over the edge of the seam, sew through the two
edges of the binding ribbon at the same time, with running stitches.

FITTING THE COAT.

Baste the body of the coat together at the shoulders and under
arms, then baste in one sleeve. Try on the coat and fit it according
to general direclions for fitting a waist (Chap. IV). Remember that
a coat is an outside garment and should be fitted over the dress, or
waist, and should be made very loose. If the sleeve is not set in
so the l()|) part hangs straight from the shoulder to the back of the
hand, readjust it so it will.

283

THE COLLAR AND FRONT FACING.

The collar is one of tlie most diflicull parts lo make suecesstully.
Baste the under side of the colhir to the neck of the coat, beinj^
careful not to stretch it. This coat, like most other unlined coats,
is finished with a facing on the front edges. This must he joined
lo the collar. To do this, lay the right side of the facing on the
right side of the coat; baste it on the bottom edge and front of tiie
coat and to the edge of the upper side of the collar then stitch it as
basted. Turn the facing and the collar to the wrong side; haste it
along the edge, being very careful to make a straight seam down
the front; baste it in place along the center and the outside edge (the
raw edge should be bound with binding ribbon, as suggested for the
under-arm seams). The raw edges of the collar should be turned in
and hemmed in place. Sew the facing to the coat with long hemming
stitches, invisible on both sides of the coat.

THE SLEEVES.

The sleeves should be joined the same as the under-arm seam;
the sleeves may be sewed into the armhole with the same kind of
seam used on the shoulder and under the arm. After they are set in,
bind the raw edges at the bollom and turn back a hem to the wrong
side. Stitch the hem Vo" from the bottom of the sleeve.

THE BOTTOM OF THE COAT.

The bottom of the coat should be finished with a hem about V2"
wide, stitched in place. This stitching should be continued around
the edges of the front of the coat and collar.

THE POCKET.

A pocket may be stitched on the left side of the coal, or if desired,
a pocket may be provided on each side. It should be made the
same size as directed in your pattern. The pockets in the coat shown
in this lesson were stitched close to the edge; these edges were left
unfinished. A second row of stitching V2" inside of the first row was
added lo correspond with the stitching on the collar and the front
of the coat.

FASTENINGS.

The buttonholes in a coat of this kind aie dillic-ull lo make.
They should be worked with buttonhole twist. Vou should not try

284

to make the buttonholes in your coat until you have succeeded in
working two or three excellent ones in a scrap piece of your ma-
terial (doubled). If desired, you may have a tailor make the button-
holes. Sew on buttons to correspond with the buttonholes; be very
careful to have them exactly even with the buttonholes so the ma-
terial will not wrinkle between them.

285

REVIEW QUESTIONS AND PROBLEMS.

1. Do you consider the study of dress an important subject?
Why?

2. What is meant by a garment being in style? How much
attention do you think should be given to style when planning your
clothes?

3. What is the purpose of trimming on a garment?

4. What do you understand by a certain idea or design of dress
being appropriate?

5. What sort of trimming would be appropriate for a middy
blouse? For a lingerie dress?

6. Why are commercial patterns considered more practicable
than drafted ones for ordinary home sewing?

7. W^hat measurements should be taken before undertaking to
draft a waist pattern?

8. What do you understand by a "foundation" waist pattern?
Why is it worth while for every girl to become familiar with the
method of making such a pattern?

10. What points must be carefully considered in altering any
pattern? Explain.

11. The ability to alter and adapt patterns to individual needs
is the real test of ones understanding of the principles of pattern
making. Discuss this statement.

12. What determines the width at the bottom, the number of
gores and the style of trimming of a skirt?

13. Name and describe three or four kinds of material suitable
for house dresses.

14. Describe the points of a properly designed and well made
school dress.

15. What things must be considered in making a wool dress, that
would not occur in making a house dress?

16. Design a silk dress. Draw a sketch showing how it will
appear when completed.

17. For what occasions is the lingerie dress appropriate?

18. What points should be considered in designing and making
a gymnasium suit?

19. W^hat kind of materials are suitable for a coat?

20. Write a review of three or four hundred words explaining
just how you can apply at home the things learned in your school
sewing work.

286

SUGGESTIONS FOR HOME APPLICATION.

After having completed the work in Section V of this book you should
be able to do a large part of your plain sewing. With the work given
in dressmaking in Section VI you should be in a position to make
even your more elaborate gowns. When you are capable of making
such garments it is very important that you should also be able to use
good judgment in selecting appropriate materials and styles for them.
A few suggestions are offered to aid you in applying to the problems
of dress at home the things which you have learned in your school
sewing.

THE CLOTHING BUDGET.

One of the first problems to consider in planning ones wardrobe
is the amount of money that can be spent on it. Whether you have a
liberal allowance, or whether you must practice strict economy, you will
be able to spend your money much more profitably if you use thought
and care in planning your clothes for each season. A very excellent plan
to follow is the keeping of an accurate account of the expense of your
clothing. This will enable you to know just the amount you are
spending for your clothes and will enable you to see whether you
arc spending money without getting the best returns for it. As some
garments can be made over, or made to do service for two or three
years, you should keep an itemized account of your expenses for
clothing for three years and take the average expenses for the three
years as the average cost for each year's clothing. In this manner
you will be able to see whether too large a proportion of the money
spent is being used for articles like fancy neckwear or other fads
and luxuries of dress; you may wish to reduce the number of some
of these items so that you may ha^e more money to spend for your
street clothes, or other garments which will give you a better appear-
ance with the same expenditure of money.

SOME ECONOMIES IN DRESS.

One very good way of economizing on the cost of dress and still
presenting a good appearance is to select a becoming color and use
Ihat as Ihe keynote of your dresses, suits and hats from year to year.
By using this method very often a well preserved hat left from the
previous season may be relrinnned at small exj)ense and used with
the new suit or dress; left-over blouses may also be worn with the
new suit instead of being discarded because they do not match in
color. Where slricl economy must be observed in planning the ward-

287

robe, one well made dress of good material may be made lo serve tor
ditTerent occasions by using ditlerent styles of neckwear. It is said
of a very prominent Englisb woman that she used one black dress to
do service on all occasions through an entire social season in London,
simply changing the neckM-ear on different occasions.

Unless you have an unlimited income, extremes of fashion should
be avoided, as they necessitate an endless renewing of the wardrobe.
This makes it necessary to buy cheaper materials, which soon show
their shoddiness. Clothing which is more conservative in style and
made of better fabrics will attract less attention to itself, and will
thus allow the personality of the wearer to predominate. A girl's
clothes should emphasize her personality instead of crowding it into
insignificance.

If you have the time to make your own clothes, this will be a
very important item in economy, as this makes it possible not only
to save the dressmakers' bills, but to make over garments from a
previous season. If you do not have time to do this, many articles
may be purchased ready made. Although the materials used in ready
made garments are often inferior to those used in making garments
at home, yet many ready made garments, which give very good satis-
faction, may be purchased.

A great deal of valuable time and money is often wasted in pur-
poseless shopping. It is a wise plan to know what you want to pur-
chase, about what you can afTord to pay, the quantity needed and the
purpose for which the material is to be utilized.

At between seasons sales considerable money may be saved if
purchases are made thoughtfully. It is poor economy, however, to
buy articles simply because they are good value, or because you hope
to use them at some future time.

SIMPLICITY OF DRESS.

The keynote of a young girl's dress should be simplicity, as the
charm and freshness of youth does not need elaborate clothes to en-
hance it. Any kind of clothing which takes away from a girl's youth-
ful appearance also takes away some of her attractiveness and shows
lack of good taste. Some things that a girl in school should avoid
are extremely low cut necks in dresses or waists, silk stockings and
low shoes in cold weather, too striking combinations of color, huge
hair ribbons, or fancy shirt waists.

288

APPROPRIATENESS.

A dress that would be very pretty at a party would look out of
place in the school room because of its inappropriateness. Proper
clothes should be worn on the proper occasion. Lace trimmed gowns
made of perishable material are not suitable for school wear. Fabrics
which will wear well and launder nicely should be selected for wash
dresses and waists for school wear; serviceable materials, like serge
or panama should be selected for woolen dresses.

It is not sutTicient to use good taste in selection of materials and
in the styles of making them up, but care should be taken to keep the
clothes in good repair and to see that collars and cuffs are kept clean.
In other words, if you would be refined you must show by careful
attention to the small details of your dress that you are perfectly and
always a lady.

289

SUPPLEMENT

290
CHAPTER I

TEXTILES

To get a perfectly clear understanding of the various textiles
it would be necessary to study the history of race development, in
order to become acquainted with the different kinds of materials
which have been used for clothing from the early savage periods to
the modern day. Mankind has always relied upon the animal and
vegetable kingdom for his existence; this is particularly true in the
matter of food and clothing.

Before the days of civilization, savages clothed themselves with
the untanned hides of animals decorated with shells, stones and
beads. These hides of animals were very satisfactory protection
against the elements, and were sufficiently beautiful to meet every
requirement of savage taste. With the improvement of the race a
desire for more artistic clothing arose, and mankind continued to
look to his surroundings to supply the needed materials.

It would be impossible to trace the various stages of develop-
ment which led up to the intricate system of manufacturing now
employed in producing wearing apparel, but as man began to acquire
some ingenuity and skill, he devised methods of making crude cloth-
ing from different fibers. These arts have been improved from time
to time, and while a few new sources have been employed in the
production of textiles, yet, for the most part, our clothing still comes
either from the animal or the vegetable kingdom.

The art of spinning dates back to the very earliest periods of
history, in fact, a legend among ancient people traces this important
art to the Goddesses themselves. When the art w^as first practiced
by man he turned to the plant kingdom for fibers that would be suit-
able to spin into yarn. He also employed fibers from the animal
kingdom for a like purpose, but the spun thread did not meet all of
his clothing requirements, so necessity lead the way for the introduc-
tion of weaving. This art was also begun at a very early period, and
so successfully have these twin arts developed, hand in hand, that
they have formed the basis of modern textile manufacturing.

291

THE VEGETABLE FIBERS

COTTON

Paragraph 1. ^'ery important textile fibers come from the veget-
able kingdom; while there are several that contribute slightly, cotton
and flax are the only ones worthy of consideration from a practical
standpoint. Cotton is by far the most important fiber from whic'i
clothing is made. Just how long cotton has been used in the ])roauc-
tion of clothing is not exactly known, although history records the
use of cotton clothing as early as 445 B. C. The invention oJ the
cotton gin and other modern machines has made pos*;;')'- i very
wonderful development of the cotton industry

In order that any fiber may be v.oven i:>;o .-,j:-^i citable textiles
that fiber must be possessed of sufficient s'rength to be spun, and it
must have a physical structure which will permit a number of fibers,
when spun, to cling so securely as to produce a continuous thread of
considerable tensile strength. /. :: tiie v.-:rieties of cotton have these
requirements.

Cotton fibers ccisist oi .^ced hairs; the cotton plant reaches ma-
turity varying from three to si:^ feel in height and produces a cotton
boll which contains the 'teds. This seed boll splits open and presents
a white mass of seed hairs, each being attached at one end to a tiny
seed. The seed is picked and run through a cotton gin for the purpose
of separating the reed hairs from the seed. The seed is preserved for
the oil which U possesses, while the fiber is taken through the various
processes of producing cloth.

When the cotton liber is dried it is perfectly smooth and each
tiny fiber is ribbon shaped, but as it dries it twists in an irregular
spiral or screw-like band, having from three to five hundred twists
per inch. It is this peculiar twist that makes the cotton fiber valuable
for textiles, for this is the property which makes it possible for
cotton fibers to be woven into a strong thread. The other spinning
qualities of cotton depend upon the length as well as the fineness of
the fiber. Cotton produces a very strong thread but not as strong as
silk, or even linen, although it has greater strength than the same
sized thread made of wool.

Cotton is used more than any other material because of its cheap-
ness, and because it is so serviceable for a great number of practical
purposes. It will stand rather high temperature, and is not harmed
by strong alkali, soap and other cleaning materials; it can be bleached,
scrubbed and cleaned in various ways without suffering damage. It
wears well under hard use, and looks neat and clean when laundered.

292

Cotton takes dye readily, thus making it possible to produce
pleasing color effects in various kinds of cotton cloth. It does not
retain its color, however, as well as wool.

In order to add to the appearance of cotton it is sometimes mer-
cerized to produce a glossy silk-like finish. There are a number of
ways in which this mercerizing process is carried out; the cloth is
usually treated with a strong caustic alkali and then carefully dried,
stretched and pressed.

The following kinds of cotton cloth are in most common use.

BATISTE.

Paragraph 2. Batiste is a very light cotton fabric, woven of fine
threads. It varies considerably in quality. There are some coarser
forms that are used for linings while the finer forms are found in
shirt waist and dress goods. It is made principally in white though
sometimes in a few colors. Most common width 32" to 45". Price
per yard from 15c up.

BUCKRAM.

Paragraph 3. Buckram is a very cheap cotton fabric not used
much in the manufacture of clothing except for interlinings where
some stiffness is required. It is very coarsely woven, usually in
plain colors. Most common width 36". Usual price per yard, 10c up.

BURLAP.

Paragraph 4. Burlap is a very coarse cloth made of hemp or jute,
though some of the finer varieties are made of cotton. The coarser
kinds are used for wrappings, under portions of upholstery, or where
great strength is required. The finer weaves are used for wall cover-
ings, curtains and draperies. Most common width, 42" to 57". Usual
price per yard, 35c to $1.00.

CALICO.

Paragraph 5. Calico is the most common of all the cotton fabrics.
It was originally made in Calcutta, India, from which the name calico
is derived. It is first woven plain, after which a color or print is
stamped on one surface. This explains why the figure in calico is
not found on both sides. It is used for house dresses and other gar-
ments which call for inexpensive material. Most common width, 24"
to 36". Usual price per yard, 5c up.

293

CAMBRIC.

Paragraph 6. The name cambric was originally applied only to
a very fine linen cloth. A fabric by this name is now made of cotton,
however, though not so good in quality as that made of linen. It is
a plain weave with very smooth surfaces. It is sometimes spoken of
as cambric muslin. It is used for linings and underwear. Most
common width, 36". Usual price per yard, 10c to 30c.

CANTON FLANNEL.

Paragraph 7. Canton flannel originated in Canton, China. It is
a very common cotton fabric and may be easily recognized by the
twilled surface on one side and the long smooth nap on the opposite
side. It is a very strong material commonly used for children's under-
wear and interlinings. Most common width 27 " to 30". Usual price
per yard, 10c to 12c.

CANVAS.

Paragraph 8. Canvas is a strong coarsely w^oven cloth very
similar to duck. It is used for tents, awnings and various coverings
which must be exposed to weather. Art canvas is a name applied to
many open, varied and ornamental weaves of canvas. It is not used
to any extent in clothing, but is rather important in art needle-work.
Most common width, 18" to 36'. Usual price per yard, 25c up.

CHAMBRAY.

Paragraph 9. Chambray is a very common cotton fabric, strong
and serviceable and used for house dresses and other inexpensive
purposes. It is generally found in plain colors with white selvages.
This is caused by the fact that the warp threads are colored, while
the woof threads are white. Most common width, 32"". Usual price
per yard, 20c to 25c.

CHEESE CLOTH.

Paragraph 10. Cheese Cloth is a very cheap cotton fabric, de-
riving its name from the purpose for which it was first used, to wrap
cheese. It is not a very strong material, plain weave, very sheer. It
was formerly made almost entirely in white, but now may be had in
various colors. It is used frequently for cheap decorations. Most
common width, 36". Usual price per yard, 5c to 10c.

CORDUROY.

Paragraph 11. Corduroy is a very strong cotton material recog-
nized by its half-round ridges running lengthwise of the cloth. These

294

ridges or ribs resemble velvet very much, due to the soft cotton pile.
Corduroy is used in making garments which must stand considerable
wear, particularly trousers. Most common width, 22" to 36". Usual
price per yard, 50c to $3.00.

CRETONNE.

Paragraph 12. Cretonne is a strong cotton cloth, rather well
known for its large designs and attractive colors. The design is
printed after the cloth is woven, hence the design is found only on
one side. It is used principally for curtains, draperies and other
decorative purposes. Most common width, 25" to 36". Usual price
per yard, 15c to 75c.

DAMASK.

Paragraph 13. The original damask was a fine linen fabric,
deriving its name from Damascus. A very good imitation is now
made of cotton. It is woven smooth like sateen with a distinct twill
in a conventional or floral design. Most common width, 1 to 2 yards.
Usual price per yard, 25c to 75c.

DENIM.

Paragraph 14. Denim is a coarse, strong cotton fabric, generally
woven in plain colors, presenting a fine, uneven, twilled weave. It is
most commonly used for floor coverings, upholstering purposes or
coarse garments which must withstand hard wear. Most common
width, 36". Usual price per yard, 18c to 25c.

DIMITY.

Paragraph 15. Dimity is a sheer cotton fabric, woven so as to
present the appearance of cords or ribs. It is made in white or colors,
sometimes printed with figures. It is a very light weight material and
is frequently used for summer dress goods. Most common width, 36".
Usual price per yard, I2V2C to 20c.

DUCK.

Paragraph 16. Duck is a very familiar cotton fabric. It is a
strong, heavy material used for tents, awnings and ship sails. Some
of the lighter weaves are used for wearing apparel. It may be had
either in colors or plain white. Most common width, 27" to 36".
Usual price per yard, 25c to 75c.

295

FLANNELETTE.

Paragraph 17. Flannelette is a very soft cotton material woven
so as to present a slight nap on both sides. It may be had either plain
or printed in colors. It is used in making garments that require soft
surfaces as kimonos, wrappers and the like. Most common width
27". Usual price per yard, 8c to 15c.

GALATEA.

Paragraph 18. Galatea is a very heavy cotton fabric which may
be had either in plain colors, figures or stripes. It is very strong and
serviceable and is particularly suitable for children's clothing. It
will stand a great deal of laundering without showing the wear. Most
common width, 27". Usual price per yard, 12y2C to 25c.

GINGHAM.

Paragraph 19. Gingham is probably the most common and serv-
iceable of the cotton fabrics. It may be had in plain weave or in
almost any combination of warp and woof threads. The fact that the
design is woven into the cloth explains why the ginghams may be
known by their figures appearing on both sides. This distinguishes
them from calicos and other prints. Gingham is used for dresses,
shirts and almost innumerable purposes. Most common width, 24"
to 30". Usual price per yard, 10c to 50c.

HUCKABACK.

Paragraph 20. Huckaback is a material generally used for towels.
It may be had either woven entirely of cotton or of linen. It is also
sometimes made in combination of cotton and linen. It is so woven
as to present a rather rough surface which gives it absorbing qual-
ities particularly desirable in towels. Most common width, 18".
Usual price per yard, 20c up.

INDIAN HEAD.

Paragraph 21. Indian Head is a cotton fabric, very much resemb-
ling duck, although of much finer weave. It is used for very much
the same purposes. Most common width, 36". Usual price per
yard, 15c.

KHAKI.

Paragraph 22. Khaki is a heavy plain woven material, very
similar to duck, usually brown or dust color. It is used for men's
rough garments and outing suits. Most common width, 27". Usual
price per yard, 25c to 50c.

296

LAWN.
Paragraph 23. Lawn is a very fine, sheer cotton fabric which may
be either plain white or colored. It is very commonly seen with
dainty flower designs of delicate colors. It presents a very soft,
smooth finish and launders well. It is used principally for aprons and
dresses. Most common width, 36" to 54". Usual price per yard, 5c
to 25c.

LONG CLOTH.

Paragraph 24. Long Cloth is a fine cotton fabric made in a great
many different qualities. It is very soft, coarsely woven and is used
a great deal in making underwear and infants' clothing. It closely
resembles cambric and muslin. Most common width, 36". Usual
price per yard, 10c to 25c.

MADRAS.

Paragraph 25. Madras is a very common cotton fabric. It may
be found either in white, striped, figured or plain colors. It is often
used for dresses and shirts. It probably originated in Madras, India,
from which it derived its name. Most common width, 27". Usual
price per yard, 25c.

MULL.

Paragraph 26. Mull is a very fine quality of soft muslin which is
used in dresses. It may be had in plain white or colors. It was
originally a combination of cotton and silk. Most common width, 32".
Usual price per yard, 30c to 40c.

MUSLIN.
Paragraph 27. Muslin is one of the most common of the cotton
fabrics. It is made in a great many different qualities, both bleached
and unbleached. It is used for pillow cases, sheeting, linings and
underwear. Most common width, 36" to 72". Usual price per yard,
5c to 15c.

NAINSOOK.

Paragraph 28. Nainsook is a light cotton fabric which is very
soft. It does not have as much body as the finer lawn or batiste, but
is made in various grades. It is frequently used for infants' clothing.
Most common width, 27". Usual price per yard, 15c to 45c.

ORGANDIE.

Paragraph 29. Organdie is a very fine, almost transparent, muslin
of plain weave. It is sometimes stamped with figures or designs. It
is used for dresses. Most common width, 1^" to 60". Usual price
per yard, 15c up.

297

OUTING FLANNEL.

Paragraph 30. Outing Flannel is a very common cotton fabric,
very similar in appearance to flannel, having the nap on each side.
It may be had in plain colors or stripes or checks. It is used in
making shirts, petticoats, pajamas and sometimes used in infants'
clothing. Most common width, 36 ". Usual price per yard, 10c to 15c.

PERCALE.

Paragraph 31. The original percale was probably made of linen,
although a great deal of percale is now made of a good grade of cotton.
It is closely woven, with the figure woven into the material, somewhat
similar to gingham. It is used for shirts, dresses and aprons. Most
common width, 36". Usual price per yard, 12y2C to 15c.

SATEEN.

Paragraph 32. Sateen is a cotton imitation of satin. On one side
it presents a twilled appearance, on the other side it has a lustrous
appearance very much like satin. It is used principally for linings
and underskirts. Black is the most common color. Most common
width, 21" . Usual price per yard, 25c.

SILKALINE.

Paragraph 33. Silkaline is a soft cotton fabric which bears a
slight resemblance to silk, due to its peculiar glazed finish. It is
usually found in attractive colors which are printed after the material
is woven. It is used for draperies and household furnishings. Most
common width, 27". Usual price per yard, 15c.

TICKING.

Paragraph 34. Ticking is a very strong cloth of excellent wearing
qualities. As the name suggests, its principal use is for mattresses,
pillows or various other ticking purposes. Most common width, 27".
Usual price per yard, 15c.

TURKISH TOWELING.

Paragraph 35. Turkish Toweling is a coarsely woven cloth in
which, by a special method of weaving, the woof threads are continu-
ously thrown up on the right and wrong sides in short loops. It is
used for towels, wash cloths and bath mats. The loose threads make
it particularly valuable for bath towels, as they give it a decided ab-
sorbing quality. It is usually found in white, but sometimes in plain

298

colors. Most common width 15" to 24". Usual price per yard, 25c
to 50c.

VELOUR.

Paragraph 36. Velour is woven in several widths, presenting a
smooth surface, due to the pile, somewhat similar to velvet. The
lighter weights are used for dress trimming while the heavier weights
are used for upholstering purposes. It may be had in attractive and
pretty designs. Most common width, 36" to 42". Usual price per
yard, $1.00 up.

LINEN. '

Paragraph 40, Next to cotton, the most important vegetable fiber
comes from the flax plant. This fiber is not a seed hair like cotton,
but is a bast fiber; this is the tough thread-like substance found just
beneath the bark of the flax plant.

Flax is raised in a great many different countries but it varies in
the fineness, length and quality of its fibers. The flax plant is cut
when ripe, and the stalks are then allowed to lie in a damp place,
usually a swamp or an artificial pond, in order to soften the outside
layer of the bark. This process is called "retting." There are a num-
ber of artificial means now adopted for the retting of flax. After this
process is completed the flax is broken and by a proper machine the
bast fibers are separated from the w^aste material. These fibers are
properly cleaned, combed and spun into linen thread. This thread is
very much stronger than thread spun from wool or cotton. The
strength of linen thread is due to its very long fibers, varying from
a few inches up to several feet. Each fine fiber is a long filament
composed of small cells.

Linen is used in a number of the finer fabrics for domestic use.
It has been employed for various home uses for many centuries, in
fact, it is almost impossible to study the history of the very earliest
people without finding the use of linen. It probably came into use
long before cotton was introduced.

Linen does not stand the action of alkali and soap as well as
cotton; it is more difficult to dye than cotton, but is usually treated
with about the same process. Linen fibers are very smooth and rather
gray in their natural color, although they readily bleach to a beauti-
ful white. This is why linen is so popular for table cloths, napkins
and fine towels. Linen absorbs moisture very rapidly. In fact, one
of the common tests for linen is to touch it with a moistened finger
to see whether it will immediately absorb the moisture. This test
is not always accurate, however, due to the fact that cotton may be so
woven as to absorb moisture in almost the same way. A surer test

299

is to moisten it with a drop of glycerine which will be readily ab-
sorbed by linen, but will not be so readily absorbed if the cloth con-
tains cotton.

Linen burns freely in the air, almost entirely without disagree-
able odor; it leaves but very little ash. Linen may usually be iden-
tified by the long slender point which is left when the thread is broken.
Cotton thread usually breaks more abruptly, leaving a ragged end.
There are a great many chemical tests that are used to detect the
presence of cotton or other adulterations in linen, these however, are
so technical that no effort will be made to present them here; they
may be found in some of the references given in this text.

The following kinds of linen cloth are most common.

BATISTE.

Paragraph 41. Batiste is a fine, soft linen fabric. It is very sheer,
somewhat similar to, but much finer than cotton batiste. It is used for
waist and dress material. Most common width, 36". Usual price per
vard, $1.00.

BUTCHER'S LINEN.

Paragraph 42. Butcher's Linen is a very heavy, closely woven
material, somewhat resembling canvas though finer and stronger, it
is used for aprons, dress skirts and for butchers' aprons from which
the name is derived. Most common width 27" to 44". Usual price
per yard, 35c to $1.50.

CAMBRIC.

Paragraph 43. Cambric is a very fine, thin linen material, sim-
ilar to, but much finer than cotton cambric. It is used for dress goods
and handkerchiefs. Most common width, 36". Usual price per
yard, 50c.

CRASH.

Paragraph 44. There are a great many different qualities of
crash. Some are made entirely of linen, others of cotton and some of
mixed materials. Crash is made principally for towels, though some-
times used for upholstering purposes and the finer grades for dress
goods. Most common width 18" to 36". Usual price per yard, 25c up.

DAMASK.

Paragraph 45. Damask is one of the best known of linen fabrics.
It is a very fine material used for table cloths, napkins and fine
towels. It is usually woven in figures and designs. Most common
width 16" to 54." Usual price per yard, 35c to $2.00.

300

HANDKERCHIEF LINEN.

Paragraph 46. Handkerchief Linen is a plain, fine, smoothly woven
fabric designed for handkerchiefs. It is sometimes used for dress
material. Most common width 30". Usual price per yard, 50c to $2.00.

HUCKABACK.

Paragraph 47, Huckaback is a loosely woven linen fabric, being
so woven as to expose much of the surface of the woof threads, it
is so designed in order to give it a greater absorbing surface. It is
sometimes made entirely of cotton, other grades are mixed, though
the finer qualities are of pure linen. Most common width 18".
Usual price per yard, 25c.

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ANIMAL FIBERS

WOOL.

Paragraph 50. Of the animal fibers, wool is by far the most
plentiful and the most important. Wool is the hair of a certain class
of animals, of which the sheep is most common. There are a great
many kinds and varieties of wool which vary principally in the length
and fineness of their fibers, however, they are all very similar in their
general characteristics. Wool fiber, if carefully examined with a
magnifying glass, will reveal a surface covered with scales some-
what similar to the shingles on a roof or the scales of a fish. It is
the presence of these scales, which cling to each other, that makes it
possible to use the short wool fibers in spinning and weaving valu-
able fabrics.

W^oolen fibers are very elastic but do not present as great strength
as cotton or linen. The soft, loosely twisted and loosely woven fibers
produce the woolens or the kinds of cloth which have considerable
nap or pile. These woolen fibers are sometimes combed until they
lie almost straight and parallel; they are then twisted into a rather
hard glossy thread of regular, even size. Such treatment of wool
produces the line worsteds, so well known in clothing, particularly in
men's suits.

Wool absorbs and retains coloring matter very readily, it does
not fade or lose its color when exposed to sunlight and other condi-
tions to which clothing must be subjected. This is one property
which makes wool very valuable for fine clothing.

There are a great many kinds of cloth made from wool. On
account of its many excellent properties it is used in a greater variety
of ways than any other textile. The most characteristic and peculiar
quality of woolen fiber is its tendency to "felt." Tliat is, the woolen
fibers may be brought so close together that their scales seem to mesh
and form a continuous fabric without weaving. There is no other
textile fiber which has this property. Wool is very sensitive to
alkalies; this explains why in laundering all-wool garments they
should not be treated with strong soap or other caustic alkalies.

Wool is very frequently adulterated with cheaper fibers, especially
cotton. While the introduction of a certain amount of cotton in a
woolen fabric may give it added strength, yet such material will, for
the most part, be inferior and should be less expensive than all-wool
material. It requires a great deal of training and practice to be able
to determine the presence of cotton in so-called "wool cloth." A
great many difterent tests have been devised but they belong to tech-
nical lines of work. There are, however, a few simple tests which are

302

easily made and are therefore pretty generally known. The burning
test is quite common; woolen material burns very slowly and leaves
a distinct ash, usually curled or rounded in a bead-like end. The
burning of wool is accompanied by a very disagreeable odor some-
what resembling that of burning feathers. This odor is due to the
presence of the animal oil found in the woolen fibers.

By picking a small sample of cloth to pieces and examining the
different threads, the presence of cotton can usually be detected.
(This can often be done on underside and exposed seams). Some-
times by setting fire to a piece of mixed goods, the cotton, which burns
rapidly, can be readily burned out, while the woolen portion, which
burns more slowly, is left. While it is not always convenient to make
these tests, by careful practice one can become sufficiently acquainted
with the general appearance of various woolen inaterials to identify
them with a reasonable degree of certainty.

The following are the most common kinds of wool fabrics.

ALPACA.

Paragraph 51. Alpaca is a fine woolen fabric, which somewhat
resembles silk; it is very beautiful on account of its glossy appear-
ance. It combines well with cotton and is often so found. It is used
extensively in dress goods and men's clothing. Most common width
36" to 45". Usual price per yard, 75c to SI. 00.

BLANKETS.

Paragraph 52. Blankets are a very common woolen fabric,
known for their soft covered surface. They are usually purchased
in full size ready for use. They are woven without any seams and
may be had in almost any color, with attractive designs. They are
frequently woven with part cotton. Genuine all-wool blankets are
usually sold from $7.00 up.

BROAD CLOTH.

Paragraph 53. One of the finest of our woolen fabrics, and
probably one longest known as a standard for fine suits is broad
cloth. It has a very soft smooth finished surface. It is so closely
woven that the separate threads do not show. It is used for various
kinds of dress goods and suiting. Most common width, 50". Usual
price per yard, .$2.00 to $7.00.

BUNTING.
Paragraph 54. Bunting is a very coarsely woven woolen fabric.

303

It is used in making the better grade of flags. It may be had in colors.
Most common width, 24". Usual price per yard, 35c to 50c.

CASHMERE.

Paragraph 55. Cashmere has a distinct twilled weave that is
very soft. It derives its name from the cashmere goat. It is used
principally for dress goods. Most common width, 36" to 45". Usual
price per yard, 75c to $1.50.

CHEVIOT.
Paragraph 56. Cheviot is a strictly woolen cloth made both with
a rough surface and a smoother finish. It is very much like serge but
somewhat heavier. It is woven both plain and twilled. It is used
principally for suiting. Most common width 42" to 48". Usual price
per yard, 75c to $3.00.

EIDERDOWN.

Paragraph 57. Eiderdown is a heavy woolen fabric, though it
presents a very soft surface on account of its long pile. It is used
principally for wraps. Most common width 27" to 44". Usual price
per yard, 75c to $1.50.

FELT.

Paragraph 58. Felt is a very peculiar woolen fabric which is
made without being woven at all, but simply by pressing the wool
fibers so as to form a cloth; no other textile fiber has this property
of felting. It may be had in almost any of the plain colors. It is
used for banners, pennants and table covers. Most common width,
24" to 52". Usual price per yard, 50c to -$2.00.

FLANNEL.

Paragraph 59. Flannel is a soft finished loosely woven material
which may be had in plain or various colors, slightly napped. It is
used for dress goods, shirts, petticoats and infants' wearing apparel.
Most common width, 27" to 36". Usual price per yard, 50c to $1.50.

HENRIETTA.

Paragraph 60. Henrietta is a soft woolen fabric very much like
cashmere. The original henrietta cloth was made partly of silk and
partly of wool. It has a distinct twilled weave. It is used in making
dresses and suits. Most common width 38" to 45". Usual price per
yard, $1.00 to $2.00.

PANAMA.

Paragraph 61. Panama is a soft fabric made with a distinct
^weave in plain colors. It is very serviceable, being used principally

304

for dresses, suits and skirts. Most common width, 42" to 54". Usual
price per yard, 75c to $2.00.

SERGE.

Paragraph 62. There are many different kinds of serge which
are named according to their finishes. Some serges contain consid-
erable silk; they usually present a smooth, firm surface due to the
hard iinished yarn. Serge is very serviceable. It is a suitable material
for men's clothing, also very commonly used for women's wear. Most
common width, 42" to 54". Usual price per yard, 75c to $8.00.

VOILE.

Paragraph 63. Voile is one of the thinnest of the woolen fabrics,
coarsely woven, even showing space between the warp and woof
threads. It is used for fine dresses. Most common width 42" to 45".
Usual price per yard, $1.25 to $2.00.

SILKS.

Paragraph 70. Silk is the most valuable and the most wonderful
of all the textile fibers. It was first used by the Chinese, probably
as early as 1700 B. C. The origin of silk was kept a secret among
the Chinese until about 550 A. D. About that time it became known
in Europe. Silk is by far the strongest of the textile fibers, being
almost equal in tensile strength to an iron wire of the same diameter.
This great strength is due to the nature of its fibers, being composed
not of short interwoven fibers, as is the case with wool or cotton,
but consisting rather of one long and continuous filament, ranging
from four to thirteen hundred yards in length. Each of these fila-
ments is the product raveled from a single cocoon. These cocoons
are made by what is commonly known as the silk worm. It is a
peculiar kind of caterpillar which spends about three days wrapping
itself in a silk covering or cocoon. The material from w^hich the
caterpillar spins its thread is an excretion from its body.

After the caterpillar is surrounded by its cocoon, it undergoes a
very remarkable change, and would in due time break open the cocoon
and emerge in the form of a butterfly. This would rend Hie cocoon
and practically destroy the silk fibers, therefore men engaged in the
culture of silk, kill the pupa by subjecting it to heat or steam. It is
then possible, by skillful handling, to unravel the silk fiber which
has formed the covering of the caterpillar. These are the fibers which
are spun into thread.

Silk fiber has another peculiar property which is distinct from
all other textile fibers. That is, its very high luster. Just why silk

305

has this property is not fully understood. It is this property which
makes possible the beautiful sheen of the fine silks and satins.

Silk may be dyed with various colors, in a manner similar to
wool. Silk also acts under alkali tests about the same as wool; how-
ever, it will stand a very much higher temperature. It is not so sen-
sitive to alkali as wool, neither is it so quickly destroyed by acids.

On account of the many attractive properties of silk, also on ac-
count of its scarcity, it is quite frequently adulterated by the addition
of other fibers such as mercerized cotton or linen. A great many
tests have been devised by which one may determine whether a so-
called silk fiber is adulterated. Most of these tests are too complicated
to be introduced here. You can, however, generally recognize silk by
its very soft pliable nature. If you are in doubt, a few threads may
be drawn and examined separately. If examined under the microscope
these threads will reveal the perfectly smooth surface of the fiber,
showing that it is made up of the long filaments already described
rather than of short fibers like cotton or linen. If the threads are
given the burning test, the peculiar odor similar to burning feathers
will be evidence of genuine silk. While silk is not a common fabric
in everyday wearing apparel, yet it is sufTiciently common that its
general properties should be understood.

The following are the most common kinds of silk fabrics.

CHIFFON.

Paragraph 71. Chiffon is a very thin gauze-like fabric, usually
found in plain colors. It is used extensively for trimmings in mil-
linery, also for A'eils and dress goods. Most common width, 46".
ITsual price per yard, 75c to $2.00.

CHINA SILK.

Paragraph 72. China Silk, as the name suggests, is made in
China. It is a plain woven material, but has irregular threads and
is distinguished by its softness. It is a very durable material and
is therefore used for dress goods. Most common width, 24". Usual
price per yard, $1.00.

CREPE DE CHINE.

Paragraph 73, This is a very beautiful silk material, having a
smoother surface than most of the crepes; it is very soft and lustrous.
Although it is a plain weave, it is frequently changeable, due to the
twist of the warp threads; it may be had either in plain colors or
prints. It is used for dress goods. Most common width, 22". Usual
price pel' yard, 60c to •'i'l.SO,

306

FOULARD.

Paragraph 74. The Foulard is a French silk, originally used for
handkerchiefs, now used for dress goods; it is made both in the
plain and woven designs. Most common width, 24". Usual price
per yard, 60c to $1.50.

PLUSH.

Paragraph 75. Plush is a very common heavy silk fabric, used
principally for trimmings or for heavy coats; it is also used some-
what in upholstering. It is very similar to velvet, but has longer
and more shaggy pile. Most common width, 24". Usual price per

yard, $3.00.

PONGEE.

Paragraph 76. Pongee is a common silk fabric, used for coats
and dress goods. It also originated in China where it was hand
woven. Originally it was probably made from the silk of wild silk
worms. It is a soft fabric, very serviceable and washable; it is com-
monly found in unbleached form also in plain white and colors. Most
common width, 27". Usual price per yard, ^1.00.

SATIN.
Paragraph 77. Satin is a very common but expensive form of
silk. It is used, not only for clothing, but in many forms for fancy
decorations. Some of the better qualities are employed in the con-
struction of fine gowns. It is known by its very smooth surface,
upon which much of the woof thread is exposed, giving it its char-
acteristic sheen. It is a material that is frequently adulterated with
cotton and linen, which explains its variation in price. Most common
width, 21" to 54". Usual price per yard, $1.00 to $10.00.

TAFFETA.
Paragraph 78. Taffeta is a very thin glossy silk, usually of plain
texture and plain colors, although it is sometimes made with woven
figures. It is used for gowns and linings. It is not so strong and
serviceable as some of the other silks. Most common width 21" to
54". Usual price per yard, 60c to $2.00.

VELVET.
Paragraph 79. Velvet is perhaps the finest of the silk fabrics. It
is so woven as to present a rather long pile which is so cut as to
form a continuous smooth surface. It is used for trimmings and
also for very fine gowns. It is frequently woven partly of cotton or
linen in the body. Most common width 18" to 42". Usual price per
yard, $1.00 to $10.00.

307

CHAPTER II.

SEWING PROCESSES

INTRODUCTORY SUGGESTIONS.

Paragraph 100.

One of the first things to
think of when beginning to sew
is the position in which you
should sit. Sit erect, in an easy
position with the work near
enough the eyes so that it can
be easily seen. Observe the cor-
rect position shown in Figure 1.
Sit with both feet flat on the
floor so as not to tire the mus-
cles of the back; whenever it is
necessary to look at the work
very closely, lift it to accommo-
date the eyes and thus avoid
bending the back, neck and
shoulders in the undesirable
position shown in Figure 2.

The needle should be threaded

'-^^

MjPVi 1

^ 1

-^^\

•

Figure 2. Incorrect Position.

Figure 1 Correct Position.

with thread about 20" to 25" long,
that is about the length of the arm.
Tying the knot is one of the first
things necessary in sewing. Be
careful to have a tiny round ball
instead of a bundle of loops at
the end of the thread. To tie the
knot, hold the needle and thread
in the right hand, wrap the end
of the thread around the front
of the forefinger of theleft hand;
roll it with the thumb, and as
you pull it off the finger draw
it down to a small knot with the
nail of the second finger and the
thumb. It will require a little
practice to be able to do it skill-
fully.

A thimble should always be

308

worn on the second finger of the right hand to protect the end of the
finger or the finger nail. The side of the thimble is generally used.

STRAIGHTENING CLOTH.
Paragraph 101. While cloth is always woven so that the threads
run perpendicular to each other, that is, the woof threads ( those that
run from selvage to selvage) cross the warp threads (those that run
lengthwise of the goods) at right angles, yet it is often stretched out of
shape after it is woven. It may be straightened by pulling it diagonal-
ly at opposite corners, and then pulling it straight on the warp threads.

STRAIGHTENING THE EDGE OF CLOTH.

Paragraph 102.

The edge of a piece of cloth

which has been cut unevenly

may be straightened as follows :

Pull out a thread entirely across

the uneven edge, starting to

draw it at the point where the

deepest cut has been made in

the edge of the cloth; a line will

be formed where the thread is

drawn. With a pair of sharp

scissors, cut on this line. See

Figure 3. Figure 3.

Another method sometimes used is to ravel off the threads on the

uneven edge until you come to one thread which runs entirely across

the cloth. Trim off the fringe so left on the cloth until the edge is

perfectly even. EVEN BASTING.

Paragraph 103. Insert the
needle on the right side of the
cloth. This will leave the knot
on the right side, where it
should be, for the basting is
only a temporary stitch and
will be removed when the per-
manent stitches are done. Let
the needle extend (in the de-
sired direction) under the cloth
and come up again at about V2"
from where it first entered the
cloth. Put it through the cloth Figure 4.

to the under side again at a space of about ^-2", making a stitch V2'

309

long on the right side. See Figure 4. Continue the process making
the stitches all of even length on both the right and wrong side of the
material. Fasten the thread with three or four small stitches sewed
over one another.

This stitch is used in basting hems and seams that are to be fitted.
Its lengUi may be varied according to the amount of strain that is to
be placed on the basted pieces before they are permanently stitched.

UNEVEN BASTING.

Paragraph 104. The uneven
basting stitch is made the same
as the even basting stitch (Par.
103) except that the stitch on
the upper side of the cloth is
made about two or three times
as long as the stitch on the un-
der side of the cloth. (See Fig-
ure 5.)

Uneven basting is used in
fastening together two or more
pieces of cloth where there is
to be no strain on them before Figure 5.

the permanent basting is done. For instance, in holding together the
lower part of a full skirt, basting the seams for cuffs or holders and
things of that sort. TACKING.

Paragraph 105. Tacking is a modification of the uneven basting
stitch (Par. 104), except that the short stitches are usually made
slanting or vertical. Tacking is used to fasten linings and inter-
linings to dress or suiting material.

Tie a knot in the thread; insert the needle from the right

side of the material ; take a ver-
tical or a slanting stitch about
one-fourth inch long on the un-
der side of the material. Set
the needle forward in the de-
sired direction one-half an inch
or more, (See Figure 6.) Re-
peat until you have completely
fastened the two pieces togeth-
er. Fasten the thread by sew-
ing over and over a short stitch
Figure 6. at the end.

310

THE RUNNING STITCH.

Paragraph 106. The running
stitch consists of very short even
stitches, always the same length
on the right and wrong sides of
the material. To make this stitch,
tie a knot in the thread, bring
the needle through from the un-
derside of the cloth (to place the
knot on the under side); take a
very short stitch on the upper
side of the cloth, then one of
equal length on the under side.
See Figure 7. Continue this
process keeping the stitches even
Figure 7. and straight.

Instead of using a knot in the thread you may begin this stitch
by taking two or three small stitches one over another.

Before the days of machines the running stitch was in common
use for many of the seams now made with machine stitching. This
stitch is still used to fasten two pieces of material together in a seam
where great strength is not required. It is used for the first row of
stitching in a French seam; it is also used in gathering.

THE BACKSTITCH.

Paragraph 107. The backstitch,
as the name implies, is made by
setting the needle back on the
right side of the material half
the length of the stitch just made
on the underside, thus making
a continuous line of stitches re-
sembling sewing machine work.

First sew over and over with a
small stitch to fasten the thread.
Insert the needle where you be-
gan the first stitch and take a
stitch forward under the cloth
the length of two stitches, bring Figure 8.

the needle through and insert it where the first stitch ends, bringing
it under the cloth the length of the two stitches again. See Figure «.
Repeat, keeping the line straight and the stitches even. Fasten by
sewing over the last stitch two or three times.

This is a strong stitch which may be used any place where ma-
chine stitching Mould be desirable or where particularly strong hand-
made seams are required.

311

Figure 9.
on the needle. See Figure 9.

COMBINATION STITCH.

Paragraph 108. This stitch is
a combination of the running
stitch and the backstitch. To
begin it, sew over a small stitch
two or three times, then insert
the needle as if to sew over
again, without removing the
needle, take two short running
stitches forward, draw the needle
through to the right side. Set
the needle back at the beginning
of the last stitch, bring it through
at the end of that stitch and
again take two running stitches
Continue this process.

OVERHANDING.

Paragraph 109. Overhanding consists of very small stitches
whipped over and over edges of material, not for the mere function
of preventing raveling, as is the
case with overcasting, but to
bind the two edges firmly to-
gether.

To make this stitch, begin by
concealing the knot in a fold ot
the material or by sewing over
Va" of the thread along the edges
of the material. Insert the needle
at the back of the edge and bring
it through, pointing directly to-
ward you. See Figure 10. Insert
again at the back about Vs" to
the left of the first stitch and ^''-"'•^' J"-

bring it through again. Continue this process barely catching the edge
of the material each stitch. This stitch will slant across the top edge
of the goods, but the needle should be put through straight across.
The stitches should be very shallow so the work may be pressed
with thumb and finger without leaving a ridge. Finish by sewing
over the last stitch two or three times to fasten the thread.

Overhanding is used in sewing lace on the edge of material and
in fastening two selvage edges together in a seam, or two folded edges
as in the bottom of pillow cases; it is also used in making a French
hem (Par. 111).

312

OVERHANDING A SEAM.

Paragraph 110, A seam may be made by overhanding together
two selvage edges or two raw edges turned under. To avoid using a
knot which would be difficult to conceal, you may fasten the thread
by sewing over the end of it in the first few stitches. A knot may be
used in overhanding seams which have the raw edges turned under.

This stitch is most commonly worked from right to left although
some prefer to work from left to right. Hold the two edges together
and overhand as explained in Paragraph 109.

The overhand seam is used in sewing any kind of seams where
flat smooth work is desired as in the overhand patch (Par. 150) and
seams of pillow cases.

OVERHANDING A HEM.

Paragraph 111. The overhanded hem is made by sewing the
folded edges of a hem to the body of the material with the overhand-
ing stitch instead of the hemming stitch.

To do this fold down the desired width with the raw edge turned
under, crease firmly and baste if necessary. Fold the hem back
against the right side of the material so the edge of the hem will lie
parallel with one thread of the material. Overhand (Par. 109) the
parallel threads together. This makes the so-called French hem.

This hem is used to finish the ends of towels, table cloths and
napkins.

OVERHANDING ON LACE.

Paragraph 112. In sewing
lace to the edge of material, it
is overhanded or whipped on
to make it lie flat on the edge
of the material.

To sew on the lace, lay the
edge parallel with the edge of
the material with the lace to-
ward you, and overhand the
two edges together. See Figure
11. Full the lace slightly as
you sew by pushing it toward
the needle with the thumb.
Lace is overhanded on the edge of handkerchiefs, underwear,
sleeves, or any place where lace is used for trimming.

Figure 11.

313

Figure 12.

OVERCASTING.

Paragraph 113. Overcasting^
is a loose slanting stitch used
to i)revent raveling of edges. To
make this stitch, trim off the
material which is to be over-
casted. This stitch is usually
worked from left to right al-
though some prefer to work
from right to left.

Tie a knot in the thread, in-
sert the needle from the under-
neath, about Va" below the edge
of the material; bring it through
to the right side, insert it again
on the under side ahead of the first stitch the same distance as the
depth of the stitch; bring the needle through and draw the loop of
thread down until it lies smoothly, but loosely, over the edge of the
material. See Figure 12. Continue this process. This will make
the stitches lie at an angle across the edge of the cloth. The depth
and width of the stitches will vary according to the width of the
seams being overcasted.

HEMMING.

Paragraph 114. A hem is formed by folding over an edge of
material, usually with the raw edge slightly turned under, and sewing
it down securely to form a neat, strong edge. After the hem is folded
and basted in position, tie a
knot in the thread, insert the
needle between the hem and
the cloth near the beginning of
the hem; bring it out through
the edge of the hem. Pointing
the needle toward the left
shoulder, take up a thread of
the material very near the hem,
and a short distance ahead of
the first stitch; push it through
the edge of the hem, making
the needle form a V with the
thread as shown in the illustra-
tion. See Figure 13. The stitches should be slanting, even, and close
together. Continue in this same manner repeating the stitches until

Figure 13.

314

the hem is sewed in place. Fasten the thread by sewing over the
last stitch three or four times.

Hemming is so common that there is scarcely a garment or piece
of needlework that does not employ some form of the hem in its
construction. It is used in handkerchiefs, curtains, draperies, and

wearing apparel.

HEMSTITCHING.

Paragraph 115. Hemstitching is an artistic method of making a
hem by drawing a certain number of threads from the body of the
material, and catching the remaining threads regularly in the hem-
ming procss. To make the single hemstitch first plan the width of
the hem, then from the edge of the material measure up twice the
width of the hem plus the first turn and draw a thread. Draw four
or five more threads toward the body of the cloth. The number of
threads to be drawn depends upon the fineness of the material and
the width you desire to have the hemstitching. Fold the hem in place,
making the edge of the hem exactly even with the first drawn thread;
crease firmly and baste with even basting. Tie a knot in the thread,
insert the needle in the hem, near one end, so as to conceal the knot,

bring the needle out through
the edge of the hem. With the
thumb of the left hand hold the
thread in a loop, set the needle
under three or four threads
(depending on the size of the
threads). Keep the needle over
this loop of thread, then take
a hemming stitch into the hem,
then with the thumb hold the
thread in a loop as before and
take the same number of
threads as before. See Figure
14. Continue until the hem is
completed. The stitches should all be even and should all slant in
the same direction.

Fasten the hemstitching by bringing the needle through to the
wrong side, sew over the last stitch two or three times.

This stitch is used to finish the hems of napkins, table cloths,
handkerchiefs, towels, ruffles on dresses, or, in fact, in any place
where a fancy hem is desired.

DOUBLE HEMSTITCHING.

Paragraph 116. Double hemstitching is very similar to the single

Figure 14.

315

Figure 15.

hemstitching except that it repeats the process on the opposite side
of the tinj'^ space from which the threads are drawn.

To make this stitch, prepare
the hem as for the single
hemstitch (Par. 115). Hem-
stitch across one edge (Par.
115), then turning the material
around begin on the other edge
of the drawn threads where
there is no hem turned and
hemstitch across catching up
the same groups of threads
that you did wlien stitching
across the first time. See Fig-
ure 15.

This may be varied by tak-
ing half the threads in one group and catching them in with half the
threads in another group. It will thus give a sort of V shaped ap-
pearance to the hemstitching.

Double hemstitching may be used in any place where single hem-
stitching would be appropriate. (See Par. 115.)

DAMASK HEMSTITCHING.

Paragraph 117. The damask
hemstitch is a modification of
the ordinary hemstitch, the
threads being wrapped to pro-
duce an artistic effect.

To make this stitch, first
plan the hem, draw the desired
number of threads, crease and
baste the hem just as in single
hemstitching (Par. 115). Knot
the thread and insert the needle
in the lower edge of the hem;
bring it out through the edge Figure 16.

of the hem. Place the needle under three or four of the drawn threads
and sew over and over the threads five or six times or until they are
completely covered. Put the needle under the covered threads with
three or four more uncovered threads, wrap the thread around them
once, drawing it tight so the threads thus wrapped form the bottom
of the V. See F'igure 16. Wrap the loose threads completely up to
the hem. This will complete the V, Take a hemming stitch (Par.

316

114) between the two bundles of wrapped threads into the edge of the
hem. Bind the threads wrapped last, and the next three or four un-
wrapped threads together and continue across the hem.

The damask hemstitch is used to finish edges of table linens.

ROLLED HEM.

Paragraph 118. The rolled hem is a very small round hem. As
the name suggests, it is rolled rather than folded on the edge of the
material. To make a rolled hem, hold the edge of the material between

the thumb and forefinger of the
left hand, and with a twisting
motion roll under the edge of
the material until you have a
small hard roll. Knot the thread
and insert the needle under the
roll, to conceal the knot. Insert
it again at the front about 1/16"
ahead of the other stitch, thus
wrapping the thread over the
roll, very much like overcasting.
Continue the sewing as you roll,
thus making a rounded edge.
See Figure 17.

It requires care and some practice to keep it even. After the hem
is rolled, lace is usually overhanded on the edge. Some prefer to sew
the lace on as they roll the hem; this saves time but does not make
the work look quite so neat. Fasten the thread by taking two or
three small stitches over one another on the wrong side.

The rolled hem is used on handkerchiefs, baby dresses or fine
waists, in hemming the top of dainty lingerie, or in fact, any place
where a very dainty hem is desired.

Figure 17.

FRENCH HEM.

Paragraph 119. The French hem is the same as the overhanded
hem discussed in Paragraph 111.

CATCH STITCHING OR HERRINGBONE.

Paragraph 120. Catch stitching consists of short, even stitche*
alternately taken in Uxo parallel lines. (This can best be seen by
examining the underside of the material after a few stitches are
completed.) In crossing over from one line to the other the thread

317

Figure 18.

falls on the right side of the
cloth so as to form the crosses
or herringbone effect at the
ends of the stitches as shown
in the illustration. See Fig-
ure 18.

By studying the illustration
carefully you will see that the
amount of cloth picked up
on the needle each time to
form a stitch is just equal to
the distance between stitches
on the other line. Watch this
carefully; also keep the lines
of stitches exactly the same distance apart so the work will be
even. The manner of turning a corner is shown in Figure U).
This stitch may be worke i
from you, or from left to right ;
this is unimportant, but ob-
serve carefully that the stitches
are always so taken that the
needle points back over the
finished stitches.

Catch stitching is used in a
decorative way for finishing
Hannel seams, flannel patches
and infants' garments. It is
also employed in fancy needle-

^'O^^^- Figure 19.

SINGLE FEATHERSTITCHING.

Paragraph 121. Single featherstitching consists of a series of
even slanting (or bias) stitches so taken alternately on right and
left sides of a central line as to form an ornamental row or border.

NOTE: Your first effort at featherstitching should be on the
edge of a hem, a seam, or a well marked thread in the material
which will serve as a central line for your stitches. After some
practice you will be able to follow an imaginary line.

To make this stitch, first conceal the knot by bringing the
needle through from the under side of the material slightly to one
side of the central line. With the thumb of the left hand, hold the

318

thread down in front of the
needle and take a slanting
stitch on the opposite side of
the line. Make the needle point
toward the central line (See
Figure 20) slanting at the true
bias (45°). Hold the thread
down in front of the needle as
before and on the other side of
the central line, and slightly
ahead take a similar slanting
stitch. Continue the above pro-
cess using great care to make all
stitches the same size and slant.
This featherstitch is used considerably for decorative purposes

on infants' garments, wraps and blankets. It is also employed in a

great many ways in artistic needlework.

Figure 20.

DOUBLE FEATHERSTITCH.

Parasraph 122. The double

featherstitch is started in the
same manner as the single
featherstitch (Paragraph 121)
except that instead of crossing
to the opposite side of the cen-
tral line after completing one
stitch, two parallel stitches, ex-
actly the same length, are
taken on each side of the cen-
tral line before crossing.

Study the position of the
needle shown in Figure 21.

Note that one of the small '^"'^^

stitches has been completed just as in the single featherstitch, and
that the needle is inserted and the thread is lying in the loop un-

319

Figure 22.

tier the point of the needle
for the second stitch.
When this stitch is finished,
the next stitch will be taken as
shown in Figure 22; it will be
followed by a second stitch
parallel to it, completing the
two on that side. Continue the
process.

Double featherstitching may
be used anj'^where that single
featherstitching would be ap-
propriate.

TREBLE FEATHERSTITCHING.

Paragraph 123. Treble featherstitching, as the name suggests,
consists of three stitches arranged in featherstitching. It is started in
the same manner as the single featherstitching (Paragraph 121) a sec-
ond stitch is added making it a double featherstitch (Paragraph 122),
a third even parallel stitch is added which completes the treble feath-
erstitch as shown in the upper portion of Figures 21 and 22.

Treble featherstitching is used very much the same as single or
double featherstitching.

CROSS-STITCH.

Paragraph 124. The cross-
stitch, as the name indicates, is
so made that the threads lie in
the form of a cross; it may be
slightly modified to suit the par-
ticular style of design on which
it is applied. The instructions
in this paragraph present the
method of making the simple
cross-stitch in a straight line.
Usually the design for cross-
stitching is stamped on the ma-
terial in small squares, parallel
lines, or dots. Sometimes regu-
lar cross-stitch canvas is used.

Figure 23.

It will be observed from the illustration (See Figures 23 and 24) that

320

Figure 24.

'cacli stitch outlines the diagonal of a tiny square. These squares
may be gauged by counting the threads or merely by sight.

To make this stitch, tie a knot in the thread, bring the needle up
through from the under side of the cloth at a point representing the
forward upper corner of an imaginary square. Insert the needle

again at a point representing the
farther lower corner of the same
square bringing the needle out
at the farther upper corner of
the same square. See Figure 23.
This stitch when drawn down
will form the first diagonal, and
will bring the thread in position
to start the second one; insert
the needle at the forward lower
corner of the square and taking
a bias stitch on the under side
bring it out at the forward upper
corner of the next square as
shown in Figure 24. When
drawn down this will form the second diagonal, thus completing the
cross-stitch in the first square. Study the illustrations carefully and
continue the process.

It will require careful work to make these stitches perfectly even
for each time the stitch is made the outline of the little square must
be clearly imaged. After completing one line of stitches, additional
lines may be added until the design is completely worked out. Fasten
the thread by taking two or three stitches over one another on the
wrong side.

The cross-stitch is used for ornamental purposes. Sometimes
different colors are combined and the work is varied to suit different
designs.

OUTLINE ETCHING STITCH.

Paragraph 125. The outline etching stitch is worked on a line;
it has the appearance of running stitches with their ends slightly
overlapping somewhat like backstitching.

To make the stitch, tie a knot in the thread and bring the needle
through from the under side to conceal the knot. Set the needle
forward the length desired for the stitch (usually from %" to 3/16")
and bring the point up through the material (with the needle point-

321

ing back toward the stitch just
made) about one-third the
length of the last stitch. See
Figure 25, (The upper portion
of this figure shows the appear-
ance of the stitch very much
enlarged; from this view you
may see just how it is made.)
Again set the needle forward,
making a stitch of the same
length as the first one and bring
the point back through as be-
fore. Continue until finished.
Fasten the thread on the
wrong side by sewing over and
^"'^"'' ^^- over the last stitch.

This stitch is used to pad the satin stitch in embroidery work,

to outline the stems and leaves of designs in embroidery, also for

general outlining of figures in art needlework.

THE CHAIN STITCH.

Paragraph 126. The chain stitch is rather simple consisting of
continuous loops which give the finished line of stitches the appear-
ance of a chain. To make this stitch, tie a knot in the thread, bring
the needle through from the
under side of the cloth so as
to conceal the knot. With the
thumb of the left hand hold the
thread in a loop, take a small
stitch forward allowing the
needle to come out over the
thread as shown in Figure 26.
Pull the needle through draw-
ing the thread just tight enough
to form a neat "link."

For the next stitch, hold the
loop of thread down as before
and starting the point of the

needle just inside the last "link" (just where the thread comes out),
take another forward stitch (over the loop) thus forming the next
link. Continue this process making all the stitches exactly the same
length and drawing them equally so as to form an even chain.

The chain stitch is used for simple decoration.

Figure 26.

322

SEED STITCH.

Paragraph 127. The seed stitch is a very simple ornamental stitch
consisting of small backstitches (Par. 107). To make the stitch, the
knot is tied and left on the under side, or two or three stitches may be

taken over each other to fasten
the thread, then make the first
row of backstitches, with small
spaces between them, follow
the outline of the design; the
second row of stitches should
be so placed that they alternate
with the stitches in the first
row. See Figure 27,

The thread is fastened at the
end with two or three small
stitches.

The seed stitch is often used
as a substitute for French
knots (Par. 130) and for filling in the centers of leaves and other
designs in embroidery work.

Figure 27.

BLANKET STITCH, LOOP STITCH OR SINGLE BUTTONHOLE

STITCH.

Paragraph 128. The blanket stitch consists of even parallel
stitches on the edge of material so looped as to cause a continu-
ous line of thread to lie along the extreme edge of the goods.
To do this, fasten the thread by
inserting the needle about V4"
from the edge of the material,
and taking two or three running
stitches to the edge, insert the
needle again where the first
stitch was taken and bring it
out under the edge of the cloth
over the loop of thread as shown
in Hgure 28; this will cause the
first blanket stitch to fall so as
to hide the running stitches first
taken. About V4" to the right,
insert the needle in the cloth
again making it exactly even Figure 28.

323

Figure 29.

with the first stitch; bring it
through under the edge of the
material over the loop of thread
as in the first stitch. Repeat
until the edge is completely
blanket stitched. In turning
the corners take three stitches
in one hole, making the stitches
Hare around the corner. In
finishing the stitch fasten the
thread by taking two or three
running stitches under the last
vertical stitch, as in Figure 29. A new thread may be started in just
the same way that the beginning thread was started except that the
running stitches are taken under the last blanket stitch made, so it is
not necessary to make another stitch over them.

These stitches may be worked close together and used in making
a scalloped or embroidered edge. They may be varied in width by
making one long stitch with one shorter stitch on each side of it
or by following the curves of the scallops.

The blanket stitch is used to finish raw edges. It is particularly
desirable for finishing the edges of white flannel jackets and capes
for infants. Worked with yarn, it is used to finish the edge of com-
forters. It is sometimes used in working buttonholes, but since it
does not make as strong an edge as the regular buttonhole stitch it
is not desirable.

THE COUCHING STITCH.

Paragraph 129. The couching stitch is made by sewing a heavy
cord neatly in place on the lines of a design; the design should be
drawn on the material before the
couching work is begun. The
cord usually consists of several
strands of floss twisted together.
To make the couching stitch,
tie a knot in the thread, insert
the needle from the under side
of the cloth so as to conceal the
knot. With the thumb and finger
of the left hand hold the cord
in place and bring the needle
through to the right side of the
cloth very close to and above
the cord. See Figure 30. Figure 30.

324

Set the needle forward slightly, insert the point just under the cora.
and take a slanting stitch, about 1/4" long into the material; this will
cause the stitch to surround the cord and hold it in place. These
stitches should be evenly taken so as to form part of the decoration.
Again bring the needle through just over the cord and continue until
the cord is completely sewed in place. Fasten the thread on the
wrong side by taking three or four small stitches over one another so
that they will not show on the right side.

This stitch is used in sewing braiding or the rope floss on sofa
pillows and tablecovers or for other purposes for which this sort
of decoration would be suitable.

Figure 31.

MAKING FRENCH KNOTS.

Paragraph 130, The French
knots consist of artistic knots
or bunches of thread arranged
on the surface of material for
decorative purposes.

To make the French knot, tie
a knot in the thread and bring
the needle through from the
under side of the cloth, hold the
needle horizontally with the
thumb and forefinger of the
right hand and with the left
hand wrap the thread nearest
the cloth around the needle two
or three times according to the
fineness of the thread and the
size of the knot desired. See
Figure 31. Hold the thread in
place on the needle while you
insert the point of the needle
in the cloth again, very close
to the place where it came
through, still holding the thread
tight, see Figure 32. Push the
needle through the cloth to the
wrong side and draw the thread
through until it fastens the
bundle of loops onto the cloth
in a knot form. Set the needle forward under the cloth to the place

Figure 32.

325

Figure 33.

desired for the next knot and repeat. When all the stitches are fin-
ished bring the needle to the under side of the cloth and sew over the
last stitch three or four times to fasten the thread.

THE SATIN STITCH.
Paragraph 131. The satin stitch consists of over and over stitches
taken very close together so the threads will lie one against the other.
When the satin stitch is to be made with fine thread the design is

usually padded, that is, the in-
side portion or ground work of
the design is filled with rows
of running, etching or chain
stitches, to give a rounded ap-
pearance to the finished work.
The beauty of the work de-
pends much upon the evenness
and closeness of the stitches.
Before undertaking to make
this stitch study carefully Fig-
ure 33, which shows the top
leaf in the design completed,
one simply outlined, and the
next one two-thirds padded and partially satin stitched. To make this
stitch, fasten the thread by taking two or three running stitches under
the padding on the wrong side, then bring the needle through to the
right side of the material on the line at the left-hand side of the bot-
tom of the design. Insert the needle on the opposite side of the design
bringing it through on the line very close to where the first stitch came
through; allow the thread to fall smoothly over the design; see Figure
33. Repeat, simply sewing over and over keeping the stitches very
close together. It will be necessary occasionally to take the thumb
of the left hand and smooth the stitches. The beauty of this stitch
lies in its satiny appearance when completed.

This stitch is used for embroidery work. Made with fine thread
it is called French Embroidery, and is used on dainty waists, lingerie
and baby garments. Made with coarser thread, it is used in a great
variety of designs, to decorate sofa cushions, table runners, heavy dress
materials and any material which is embroidered with coarse thread.

LAZY DAISY STITCH.
Paragraph 132. The lazy daisy stitch is simply a loop of thread
fastened with a running stitch at the top. It is worked over a design.
To make this stitch fasten the thread by taking two or three tiny

326

Figure 34.

stitches one over the other on the under side of the material and bring
the needle through at the center of the design. Insert the needle again
very close to the point where the thread just came out, thus forming
a loop of thread on the right side of the material ; draw this loop down
until it is just long enough to cover the ellipse or design marked on the
cloth. Without pulling the loop any closer, bring the needle up

through the cloth at the outside edge
of the design. Allow the needle to
pass through the loop previously
made, and draw the thread down
carefully to fit the design; fasten
this loop in place as shown in Fig-
ure 34, by inserting the needle again
just outside of the top of the loop
thus making a short running stitch
over the loop. Bring the needle up
again at the center of the design,
and repeat until all the loops have
been worked. Fasten the thread on
the under side by taking two or
three stitches over and over. The center of the design is usually
filled with French knots (Par. 130) or with the seed stitch (Par. 127).
The lazy daisy stitch is used in fancy work. It is an attractive
stitch as it is generally worked in colors; it is used principally in
making leaves or the petals of llowers like the daisy.

SEWING ON HOOKS.

Paragraph 133. In sewing on
hooks and eyes, the hooks are
usually sewed on first. Place
the hook in the position de-
sired, setting it back from the
edge of the hem at least Vs".
Knot the thread and insert the
needle about ^2" from the
hook; bring the needle through
between the two thicknesses of
cloth and bring it up inside of
one of the eyelets of the hook;
sew over and over this eyelet

until it is well filled with

Figure 35.
stitches; fill the opposite eyelet

in the same manner. See F'igure 35. Slip the needle between the two

327

thicknesses of the material to the end of the hook and sew over and
over, under the curve of the hook until it is securely fastened. Insert
the needle in the material near the hook and bring it out between the
two thicknesses of the cloth about ^2 " distant. This leaves about ¥2"
of thread in the cloth which will be sufficient fastening for the stitches.
A neater and firmer, but more difficult way of fastening on hooks
and eyes is to buttonhole around the eyelets as shown in Figure 36.

Figure 36.

SEWING ON EYES.

There are two kinds of eyes
that may be used with the
hooks, one curved and the other
straight. The curved hook is
used on fitted dress linings and
should be sewed on as in Fig-
ure 36, letting the eye extend
beyond the hem the same dis-
tance that the hook has been
set in from the edge of the op-
posite side. Sew around the wire
loops in the eye just as you did
the hook. Sew over and over
the loops of the eye on each

side to hold it firmly in place. Fasten the thread at the beginning and

end the same as in sewing on the hook.

To sew on a straight eye, place it in the proper position opposite

the hook as in Figure 35. Sew around the loops with the same kind

of stitch used in sewing on hooks.

SEWING ON SNAPS.

Place the smaller part of the
snap on the upper edge of the
hem being careful that the little
projection in the snap is placed
out. Sew over and over the
outer rim in the small holes
made for this purpose. In sew-
ing on the under part of the
snap, be careful to set it so as
to receive the other portion of
the snap correctly. A good way
to insure its being exactly right
is to keep the snap together un-
til you are ready to sew it on,

^R^^^

^^K-

'*^'% I

ft /^'I'^H

^^■^"-'T^' ^ '^^^^^1

Figure 37.

328

unsnap it to sew on the upper part. See Figure 37. Snap it again,
hold the material in the position which it will take when the snaps are
closed; unsnap it without removing it and sew it securely in place.
Hooks and eyes are used any place in a garment where an open-
ing is to be kept invisibly closed. The hooks and eyes used on skirt
bands should be large; those used on thin dress materials should be
small. They should harmonize in color with the material used, that
is, the white ones should be used on light material and black ones on
dark material. Snaps are also used on plackets and on any openings
in a garment where there is little strain.

FORMING A LOOP.

Paragraph 134. A loop to serve the same purpose as a steel eye
may be formed of thread. It should be made in the exact place where
you would sew on a steel eye to receive the hook. Tie a knot in the
thread, insert the needle on the upper side of the cloth about Vz" from
the place where you are to form the loop. (When the loop is com-
pleted cut off the knot.) Bring the needle up through the cloth and
take about four or five stitches over one another (the number of
stitches may be varied according to the size of the thread), make
them the same length that you desire the loop; this will depend on
the size of the hook. As these loose threads would not make a very
satisfactory loop to receive the hook, they must be securely bound
together or "worked" as it is usually called.

To work the loop begin at
the left-hand end of the loop
of threads and fill them with
blanket or loop stitches (Par.
128). As the point of the needle
would be likely to catch in the
cloth, you may use a blunt one,
or turn it so the eye will pass
under the loop first, as shown
in Figure 38. To fasten the
thread, bring the needle through
to the wrong side of the cloth
at the end of the loop, and take
two or three stitches over one

Figure 38. ,,

another.

The loop is used as a substitute for the steel eye on lace yokes,

plackets or other openings in sheer cotton materials, also for silks or

even woolen garments where the steel eye is likely to show. It

329

Figure 39.

should be made with thread to match the color of the material on
which it is worked.

SEWING ON BUTTONS.

Paragraph 135. Fasten the thread by taking two or three small
stitches on the under side of the material or, if a knot is used, insert
the needle about ^o" away and running it between the thicknesses of

cloth bring it up at the place
where the button is to be sewed.
A button should have a shank
of thread under it to raise it
from the goods. Such a shank
may be made by slipping a pin
under the threads and sewing
over it in the manner shown
in No. 3, Figure 39.

If the button has only two
holes as shown in No. 1, Figure
39, bring the needle up through
one of them and down through
the opposite one, then slipping
a pin under the thread continue in the same manner until the holes
are filled with thread. If the button has four holes, bring the needle
up through one of them, down through the second, up through the
third and down through the fourth, slip the pin under the threads as
in No. 3, Figure 39, and continue in the same manner until the holes
are filled. (Sometimes the stitch is crossed by sewing diagonally
from the first to the third hole and from the second to the fourth, but
this method is not usually considered as neat as the method shown
in No. 2, Figure 39.)

When the button is securely fastened, remove the pin and wrap
the thread several times around the loose threads under the button.
Fasten the thread by running the needle through to the wrong side
and making two or three small stitches, one over the other. Nos. 1
and 2, P'igure 39, show a two-holed and four^holed button completely
sewed on.

A button with a cotton shank is sewed on by sewing through the
shank then through one or two thicknesses of the material, without
sewing entirely through the garment. In sewing buttons on tailored
garments the thread is not carried entirely through the material. On
heavy material where the buttons are to have hard wear, they should
be sewed on with coarse thread. The thread is sometimes waxed to
make it stronger and to make it lie in the button smoothly.

Shoe buttons are often fastened on with steel fasteners, but some-

330

times it is necessary to sew them on at home; extra heavy linen
thread should be used making an over and over stitch as shown in
No. 4, Figure 39.

MAKING BUTTONHOLES.

Paragraph 136. A buttonhole is a slit made in at least two thick-
nesses of material finished with the buttonhole stitch, to receive a
button. The hems of thin material are sometimes interlined to give
them more body before working buttonholes in them. The two thick-
nesses of heavy material are often basted together and two parallel
rows of machine stitching or running stitches are made around the
place where the buttonhole is to be. The buttonhole is cut inside the
stitching. Lace may be strengthened by basting a piece of lawn under
the place where the buttonhole is to be and trimming it off close to
the buttonhole after it is worked. Dried glue if moistened and rubbed
on both sides of wiry material in the place designed for the button-
hole and allowed to dry again will enable one to cut and make a
much neater buttonhole on this sort of material.

Placing the Buttonhole.

Buttonholes are usually placed about Vi" from the edge of th&
material, the distance apart depending upon the strain, the kind of
buttons used, and the prevailing style. Where there is much strain on
them they should be cut at right angles to the edge of the material,,
but they may be cut parallel with the edge in the pleat of a tailored
shirt waist or the placket of a sleeve, or any place where there is little
strain. The buttonholes are generally placed on the right-hand side
of the opening in ladies' garments.

There are two kinds of buttonholes, the light buttonhole (used
in light weight material) and the heavy buttonhole (used in heavier
material like coats and suits, and on the bands of children's garments,
or where there is likely to be considerable strain). The light button-
hole is simply overcast and worked with the purling or buttonhole
stitch. The heavy buttonhole is stranded, overcast and worked with
the buttonhole stitch. Directions are given here for the heavy button-
hole only, because the steps in the light buttonhole are the same
omitting the stranding.

In making the buttonhole the first thing to consider is cutting it.
It may be cut with buttonhole scissors, or with ordinary scissors.
A buttonhole should be cut on a thread of the cloth to avoid raveling
and unevenness on the edge. Accurate measurements should be made
before cutting each buttonhole, to make sure they are all equally
distant from the edge. The buttonhole should be cut large enough

331

to receive the button for which it is intended. By cutting one button-
hole at a time, and working it before cutting another, raveling of the
raw edges may be avoided.

To Cut a Buttonhole With Buttonhole Scissors.

Set the buttonhole scissors and make a trial cut on a separate
piece of material; test it with one of the buttons which you intend to
use, reset the scissors if necessary. When the scissors are properly
set, cut a buttonhole carefully on the thread; keep the buttonhole
scissors set in the same position until all the other buttonholes are cut.

To Cut a Buttonhole With Ordinary Scissors.

When the buttonhole is to be placed across a hem, measure the
diameter of the button and, using a pin to mark the front end, place
a second pin to indicate where the back end of the buttonhole should
be, then fold the hem lengthwise and cut a small slit (crosswise)
in which to insert the point of the scissors; open the hem and cut
on the thread first to one pin, then to the other. When the button-
hole is to be placed vertically on the hem, mark the ends with a pin,
fold the hem crosswise and cut to the pins as already explained.

Figure 40.

332

Stranding the Buttonhole.

Buttonholes are stranded by taking two long running stitches
over each other as close to the edge as possible (beginning at the back
end and lower edge); two short backstitches should be taken at
each end of the buttonhole as in No. 1, Figure 40. As the stranding
process adds considerable difTiculty it is often omitted.

Overcasting the Buttonhole.

After stranding the buttonhole, begin at the lower edge of the
back end and overcast the edges, making very shallow stitches (about
three threads deep, just covering the strands) about V^" apart. See
No. 2, Figure 40. When the buttonhole is overcasted you are then
ready to finish it with the regular buttonhole stitch. You should con-
tinue this work without breaking the thread used in overcasting.

To Work the Buttonhole.

Figure 41.

Figure 42.

To make this stitch, hold the raw edge of the buttonhole over the
forefinger of the left hand, insert the point of the needle through the
buttonhole (at the back end) bringing the point through toward you
four or five threads below the edge of the buttonhole. From right to
left bring the doubled thread from the eye of the needle around the
point of the needle as shown in Figure 41 ; draw the needle through,
forming a purling stitch on the edge of the buttonhole as shown in
Figure 42. Working from right to left, take the next stitch in the
same manner, making it the same depth and very close to the first
stitch. Continue across the buttonhole. When you come to the front
end of the buttonhole, it may be fanned by Haring the stitches as

333

shown in No. 3, Figure 40, taking about seven stitches to form the
fan (if desired a barred or straight end may be made as shown in No.
4, Figure 40); continue the work on the other edge. The back end
may be either barred or fanned like the front end. Fasten the thread
by slipping the needle through the first purling stitch, carrying it
under two or three buttonhole stitches. When working the button-
hole it is difficult to introduce a new thread, so care should be taken
to have the thread long enough (about 27") to work the entire button-
hole. However, if the thread breaks or is too short, fasten the new
thread as in beginning to work a buttonhole, bring the needle
up through the last purling stitch and continue to work the buttonhole.

To Bar the End of a Buttonhole.

The back end of a buttonhole is often finished with a bar as
shown in No. 5, Figure 40. To do this, when you have finished
working the second edge of the buttonhole, slip the needle through
the first purling stitch, drawing it up close to the last stitch, then
slipping the needle under the edge of the buttonhole, bring it out
close to the bottom of the first stitch. Insert it at the bottom of the
last stitch and sew over the end of the buttonhole three or four times.
Work over these threads (with the buttonhole or loop stitch), catch-
ing the needle in the material and turning the purl toward the but-
tonhole. Fasten the thread with two or three running stitches on the
wrong side.

The buttonhole with the bar at each end is frequently used in
vertical buttonholes. They are sometimes finished with a fan at
each end as shown in No. 6, Figure 40. No. 7 shows a heavy button-
hole.

FRENCH SEAM.

Paragraph 137. A French seam is one very commonly used, in
which the raw edges are sewed together and turned inside the final
sewing. Baste together with a %" seam using even basting (Par. 103),
sew about i/s" to 14" outside of the bastings so as to allow for the second
seam. Trim off the extra material, as in No. 1, Figure 43, to within 1/16 "
or Vs" of the stitching (this depends on the fineness of the material
and the width of the seam desired). Press the material flat along the
line of stitching, turn it wrong side out and carefully press a new
seam, thus turning in the raw edges (the material will then be folded
over as shown in No. 2, Figure 43), baste with even basting (Par.

334

ml ^^^^^^^^H

■■■J" ""

Figure 43.

103) and stitch from y%" to Vk" from the edge; or if the seam is made
by hand, sew it together with the combination stitch (Par. 108).

This seam is used to join the seams of underskirts, princess
slips, night gowns, shirt waists, lingerie waists and light weight wash
dresses.

THE FELLED SEAM (HEMMED).

Paragraph 138. The felled seam is a very tlat seam made by
turning in and hemming, or stitching flat, one overlapping edge of a
seam. It is made as follows: Baste and stitch the material with the
machine, or sew with the combination stitch, on the wrong side;
trim off the raw edges to the width desired, from 3/16 " on fine under-
wear, to %" on tailored skirts. Trim one edge of the seam to within
about Vs " of the stitching; with its raw edge slightly turned under,
turn the wider edge over toward the trimmed edge. Baste neatly
in place, being careful that the seam lies perfectly flat. See No. 1,
Figure 44. Sew in place with fine hemming stitches (Par. 114).

The Stitched Fell.

This seam is made the same as the hemmed fell except that the
second edge is stitched as shown in No. 2, Figure 44, instead of being
hemmed in place; it is sometimes made on the right side of a
garment.

335

Figure 44.

The felled seam is used any place where a flat seam is desired.
It is particularly desirable in under garments, like drawers and
combination suits. Any garment which is worn next to the skin
should be finished with this seam.

Paragraph 139.

LAPPED
The lapped

Figure 45.

SEAM.

seam is a very strong smooth
seam which lies perfectly flat.
Its strength is due to the fact
that it is sewed with two rows
of stitching. It is made on the
right side of the garment. To
make this seam, turn up the
edge of one piece of the ma-
terial about Vs" and turn down
about Ys" on the edge of the
piece to which it is to be joined.
Lap the two seams Vi" to Vo",
as desired, baste them together
down the center. If they are
fitted, it will be necessary to
turn in the edges according to
the line marked in fitting.
Stitch on the right side, as in
Figure 45, stitching close to the

336

edge ol Ihe material placed on top. Stitch as near the edge of the
other as you can from the right side, but be careful to keep the two
rows of stitching parallel, even though the second row^ does not
stitch the edge of the under lap as evenly as it does the upper one.
This seam is used principally in finishing the seams of tailored
garments.

OVERCAST SEAM.

Figure 46.

Paragraph 140. The overcast seam consists of an ordinary seam
with the raw edges overcast to prevent raveling. To make this seam
baste (Par. 103) and sew^ two edges of the cloth in a seam, on the
wrong side, the width desired.

Press open the raw edges and overcast each edge separately as
in No. 1, Figure 46, or leave the two edges together and overcast both
at the same time, as in No. 2. This seam is used on heavy linen,
wool, and silk materials where it is desirable to have the seam show
as little as possible.

GATHERING.

Paragraph 141. Gathering is a very common process in sewing.
It consists of running stitches drawn through the material tightly
enough to produce a fullness which may be evenly divided when it
is sewed on another piece of material. Gathers are generally placed
V4" to V2" from the edge of the material. Fasten the thread by
sewing over a short stitch two or three times. Fill the needle with

337

running stitches; when the
needle is filled with stitches do
not remove it from the cloth,
but as you take up more
stitches, push the extra ones
off the back of the needle onto
the thread, as in Hgure 47, con-
tinuing until the cloth is gath-
ered. To fasten the gathers
until you are ready to sew them
on another piece of material,
put a pin across the stitches,
vertically, and wrap the re-
maining thread around the pin
a number of times to keep the gathers from slipping off the thread.
Stroking the gathers (as our grandmothers did) makes them lie
in small pleats. This method is not used as much now as formerly.
However, practically the same results can be obtained if you draw
the gathers up tight on the thread, wTap the thread around a pin to
hold the gathers in place, then (with the thumb and forefinger of the
left hand holding the cloth above the gathers) hold the cloth below
the gathers with the right hand and pull the gathers out straight
and pinch them tightly with the left hand. When you are ready to
sew them to another piece of material loosen the gathers until they
fit the place for which they are intended.

Figure 47.

GATHERING ON TWO THREADS.

Make the first row of running
stitches just as stated above,
without drawing up the gath-
ers. Make a second row of run-
ning stitches about i/4" below,
with each stitch directly under
the stitch in the first row. Draw
the two threads and adjust the
gathers, as desired. See Figure
48. The two rows of stitches
will hold the cloth in little
pleats without stroking or
pinching.

Gathering may be used any
place where one piece of a garment is to be set on another piece with

Figure 48.

338

dullness, as in setting a full skirt on a band, ruffles on dresses or
underwear, or fulling the top of a sleeve into an arm hole.

Figure 49.

SETTING GATHERS ON A BAND.

Paragraph 142. After care has been taken to give the gathers an
even pleated effect, they should be sewed carefully to the band, or
to whatever part of the garment they are to be attached. Before

drawing up the gathers the ma-
terial should be di\ided into
halves or fourths, according to
the length of the strip which is
to be gathered. If there are to
be comparatively few gathers,
divide the material in halves.
If there is to be a long strip
of gathers, divide the material
into fourths and mark each di-
vision with a pin set in ver-
tically. Then divide the band
or edge of the garment to which
the gathers are to be sewed
into the same number of divis-
ions. Pin the materials together where they are divided. Gather the
material in each division on a thread, adjust the gathers and fasten
the extra thread around a pin and baste the gathers carefully on that
division with very small stitches. See Figure 49. Continue until
«ach division is gathered, then stitch the gathers on to the material
with a sewing machine, or with the combination stitch, being careful
1o sew on the line of gathering. Very satisfactory gathering may
he done on the machine. You should study the method of using the
attachments for the particular kind of machine which you have at
Tiome.

CUTTING BIAS STRIPS.

Paragraph 143. There are two kinds of bias strips, true bias and
untrue bias. A true bias is cut at an exact angle of 45 degrees by
folding the warp threads of the material over on the woof threads
and cutting on the diagonal formed. An untrue bias may be cut at
.any angle smaller or greater than the perfect diagonal. Bias strips
are sometimes cut by folding the material in such a way as to cut
through several thicknesses at a time; this method is rapid, but not
so accurate as the method just given.

339

Bias strips are used to face curves, to bind seams, to finish the
raw edges of embroidery ruffles, in place of embroidery insertion,
to finish embroidery beading on the edges of corset covers, as
piping for dress trimming and in a variety of other ways.

JOINING BIAS STRIPS.

Figure 50.

Paragraph 144. Be sure the ends to be joined are cut on the bias;
lay these ends together so the threads will run parallel (the strip
will thus form a V shape), allowing the points to extend over each
edge as shown in No. 1, Figure 50. Stitch together being careful
to do it just as shown in the illustration. Straighten the strip, and
press the seam open as shown in No. 2; trim off the points even
with the edges thus forming a straight continuous strip as shown
in No. 3, Figure 50,

SQUARING A CORNER.

Paragraph 145. Where the hems on the corners of adjoining
edges cross, the neatness of the work may be improved by cutting
away some of the extra thicknesses. This may be done by squaring
the corners so as to leave the ends of the hems square. To do this,
after the hems are folded, crease the hems at one corner sharply as
shown in No. 1, Figure 51, and with a pin mark the place on the
under hem where the edge of the upper hem folds over it. Unfold the
upper hem and cut out an oblong piece from the under hem about V4"

340

^^|_

f\
,- I

'■—« 3

Figure 51.

from the edge, as in No. 2. Fold the hem in place again, as in No. 'S,
and finish with hemming (Par. 114) or hemstitching (Par. 115) as
desired.

MITERING A CORNER.

Paragraph 146. Where two hems overlap at a corner, it is often
desirable to remove some of the extra thicknesses of material.

Figure 52.

341

This may be done by mitering the corner. To do this, lay the hem
the width desired, fold and crease in place. The corner will form a
square, as in No. 1, Figure 52. Keeping the hems creased, lift the
corner of the material and pull it up until it forms a V, as in No. 2,
Figure 52; crease sharply on the diagonal lines thus formed. Cut
this piece off slightly above the crease (allowing Vs " above crease for
turning under the raw edges) so the ends of the seams will meet at
an angle of 45 degrees, thus forming a perfect mitered corner. Turn
under the raw edge of the upper hem and fold it over the other one,
making it form a perfect diagonal across the corner, as in No. 'S,
Figure 52. Baste in place with even basting (Par. 103) and hem
neatly (Par. 114).

MITERING A CORNER OF LACE.

Figure 53.

Paragraph 147. In sewing on lace around a corner it is necessary
either to gather the lace on the inside edge sufficiently to keep it
from drawing on the outer edge, or to remove this fullness by miter-
ing. Lace may be mitered at almost any angle, but since the methods
are so similar, directions are given here only for a square corner.
To do this, draw one edge of the lace together until a square corner
is formed on the oposite edge, leaving a triangular piece extending
the same as in mitering a corner of material explained in Paragraph
146. When this triangular piece is cut off', the edge of the lace will
form a perfect miter, or an angle of 45 degrees. Before cutting off

342

this triangular or V shaped piece, baste the lace together along the
diagonal line running along one edge of the V to the corner; trim
the lace to within 1/16" of the basting and buttonhole (Par. 136) the
edges together on the wrong side, as shown in Figure 53.

Another very satisfactory way to do this is to buttonhole along
the line of basting threads on the wrong side and trim off the lace
close to the buttonhole stitches. This method makes a narrower seam
than the first.

Lace may be mitered any place where it is sewed around a corner,
as in handkerchiefs, collars, square table covers or dresser scarfs.
The fullness in the edge of the lace in lace yokes is often removed
by mitering.

JOINING LACE.

Paragraph 148. It is often necessary to splice a piece of lace. An
ordinary seam would show^ plainly and mar the appearance of the
work. Lace may be spliced so the joining will show but very little.
To do this, place the ends to be joined so the pattern exactly matches;
on the wrong side, buttonhole from one edge of the lace to the other
on a diagonal thread. If necessary follow the pattern of the lace
wath the buttonhole stitch. Trim very close to the buttonhole stitches
on both the right and the wrong sides.

HEMMED OR SET-ON PATCH.

Paragraph 149. A hemmed, or set-on, patch consists of a piece
of material (with the raw edges turned under on all sides) sewed
over a hole in another piece of material. Before beginning to mend
the hole, trim away all the worn material around it, preferably along
the warp and woof threads of the material. If the material is un-
figured it is sometimes desirable to make the patch circular (as in a
corset cover) or triangular if the hole is three-cornered. If the hole
is longer than it is wide the patch should be made oblong; a three-
cornered tear on figured material can be mended more neatly with a
square patch than with a triangular one as it is usually difficult to
match figures along a diagonal. To make a patch show as little as
possible, it is necessary to match the figures in it very carefully with
the figures in the garment. If possible, select for the patch a piece of
material that has been worn as much as the garment, because a new
patch set into a worn garment shows plainly. A new piece of material
may be washed and hung in the sun to fade if there are no worn
pieces on hand.

343

Figure 54.

and turn back the edges about
^A " all the way round (turning
the material on the thread). Be
sure that no raw edges are left
at any of the corners. Place the
right side of the patch on the
under side of the opening, see-
ing that the figures in the patch
exactly match the figures in the
material. Pin the edges of the
opening to the patch in several
places, baste carefully with
even basting (Par. 103) and

Figure 54 shows a hole torrr
in a piece of cloth as it might
be snagged in a garment; Fig-
ure 55 shows the torn portion
cut away to a strong place in
the material. The opening in
this case is cut about square;
Figure 56 shows the completed
patch in which you will notice
the checks in the patch exactly
match the checks in the material.

To set-on such a patch, first
cut away the frayed edges, then
make a small diagonal cut into
each corner of the open square

Figure 56.

Figure 55.

sew with fine hemming stitches
( Par. 114), (A patch on a kitch-
en apron or a garment that re-
ceives a great deal qf hard wear
might be stitched along this
edge with the sewing machine.)
To finish the wrong side of
the patch (as the outline of the
edges will show on the right
side, trim them evenly), turn
under the raw edges on a
thread all the way around:
baste in position; hem neatly
in place. Remove the bastings
and press the patch.

344

OVERHAND OR SET-IN PATCH.

Paragraph 150. The over-
hand, or set-in, patch consists
of a piece of material (with its
raw edges folded back on all
sides) set into another piece of
material.

To make this patch, cut away
all of the worn material, pre-
ferably along the warp and
woof threads, leaving an ob-
long or square opening. Select
a piece of material for the patch
as nearly as possible like the
garment to be patched. Match
the design carefully, laying the
patch on the wrong side of the

^^^1

■

<«

■

■r

■^

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■

')t

■«*

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■r

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^■^■^

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Figure 58.

of the opening together with
very shallow stitches as in Fig-
ure 57; sew well into the cor-
ner, then turning the material
half way round, fold the second
edge of the patch to match the
figure along the second edge of
the opening and overhand
along this edge as you did the
iirst. Continue folding the
patch and overhanding the
edges together until all four
sides of the opening have been
overhanded to the patch, as in
Figure 58.

Figure 57.

material with the right side
turned toward the right side of
the material. Make small diag-
onal cuts in the corners of the
hole and turn the edges back
on a thread about i/4" all around
the opening. Turn back the ma-
terial along one edge of tht
patch (follow a thread if pos-
sible), where the design exactly
matches the design in the torn
place. Beginning a little way
from one corner, overhand the
edge of the patch and the edge

Figure 59.

345

The patch may be overhanded on the wrong side, but this method
makes it much harder to match the figures. The under side of the
patch should be finished neatly. To do this trim the under edges of

the material until they are ex-

wide. Overcast all the edges
with neat overcasting stitches
(Par. 113). See Figure 59.

This patch is not as strong
and serviceable as a set-on
patch, for it is joined to the
opening with only one seam
and the corners are held merely
by a single thread. It may be
used very satisfactorily, how-
ever, on thin goods like lawn,
organdie, dimity or other very
light materials in garments
which are laundered only oc-
casionally.

THE WOOLEN PATCH.

Paragraph 151. The material
with the hole in it, as shown in
No. 1, Figure 60, is a part of a
boy's pocket which had worn
through because of the load of
marbles carried in it. The patch
used to mend it is made the
same as the hemmed patch pre-
viously described, except that
the wrong side is catch stitched
(Par. 120) in place without
turning in the raw edges. The
material is cut away to a strong
place, as shown in No. 2, Figure
60, then a patch which matches
the material as nearly as pos-
sible is basted under the hole.
The diagonal stripes of the ma-
terial should be matched care-
fully, the corners of the open-

Figiirt' (10.

346

ing cut in slightly, the edges turned in, basted and hemmed in place.
To finish the wrong side of the patch, trim the edges about %" from
the hole and without turning under the raw edges, catch stitch them
in place. In patching the seat or knees of a boy's trousers, or any
place where there is likely to be considerable hard wear, it may be
desirable to let the edges of the patch extend farther beyond the hole.
If the material in the patch ravels easily, the edges may be turned
under, and hemmed down. On material which does not ravel easily
the patch may be basted on the wrong side of the material and the
raw edges of the hole darned smoothly onto the patch; the wrong
side of the patch is then finished as already described.

The woolen patch is used in mending holes worn or torn in
woolen garments in such a way that they cannot be darned, or mended
satisfactorily with mending tissue.

RIGHT SIDE

W^RONG SIDE

Figure 61.

MENDING WOOLEN GOODS WITH TISSUE.
Paragraph 152. When a woolen garment is torn and the edges are
not badly frayed, and none of the material is out and gone, it may be
mended very satisfactorily with mending tissue, a rubber-like material
used by tailors. To mend the tear, turn the garment to the wrong
side, place the mending tissue over the hole so it completely covers
it and extends at least 1" beyond the edge of the hole on all sides; lay
a patch the same size as the mending tissue over it as shown in wrong
side view. Figure 01. As the patch does not show, it is not necessary
to match the figures or even the material in the garment. (The mend-
ing tissue has been allowed to extend from under the patch merely
to show that it is there, this is not necessary in doing the work). Set

347

an iron (hot enough to melt the mending tissue, but not hot enough
to scorch the material) on the patch; hold it there (perfectly still) a
short time, turn the garment right side out and examine the repaired
spot, it should be unnoticeable as shown in the right side view, Figure 61.

Figure 62.
DARNING WOOLEN GOODS.

Paragraph 153. Oftentimes a tear in a garment can be darned
more satisfactorily than it can be patched. No. 1, Figure 62, shows a
three-cornered and a diagonal tear in a piece of woolen goods. No. 2,
Figure 62, shows the same piece with the holes repaired by darning.
In this kind of work a tear may be darned with thread raveled from
the edge of a piece of the material (if it is strong enough) or with
silk thread to match.

To darn a straight tear, begin about V2' away and sew across it with
fine running stitches (Par. 106) concealed in the cloth as much as
possible; continue to sew about ^2 " on the opposite edge following thef
weave of the cloth (sew over one edge and under the other). Inserting
the needle very close to the last stitch, make a second row of running
stitches very close to, and parallel with, the first row, going over the
edge of the tear where you went under the first time. Continue in this
manner until the tear is mended. Be careful not to draw the thread
tight, as this will give a puckered appearance in the darn. If this
work is carefully done it will be almost impossible to detect the darn.
As a rule it is advisable to lay a piece of material ( the same as the
goods in the garment) rn the under side of the tear before darning; it
may be caught in place with the darning stitches thus making the darn
more substantial. The raw edges of the patch may be catch stitched
(Par, 120) in place or trimmed close to the darning.

348

DARNING A STOCKING.

Paragraph 154. Stockings should be repaired as soon as a small
hole appears in them, as a small hole is easily darned but a large one
presents a difTicult task. Ordinary darning cotton is used to darn
lisle and all kinds of cotton stockings. A finer mercerized darning
cotton is used for silk hose. Figure 63 shows a ragged hole in a
piece of stocking as it might be made by ordinary wear. Figure 64
shows this hole trimmed ready to be darned; you will notice that
the ragged edges have been cut away.

After the ragged edges have
been trimmed away as inuch
as necessary, place the darner
(an egg-shaped wooden ball
or cardboard) under the hole
and lay all the threads in one
direction (shown in Figure 65)
as follows: Beginning about
lo" from the opening, take a
few running stitches in the
stocking, making the last stitch
come over the edge of the hole;
take a long stitch across the
opening on the opposite edge
continuing with running
stitches in the stocking about
y^" beyond the hole. Inserting
the needle very close to the last
running stitch make another
row of stitches parallel with
the first in just the same way
(be careful not to draw the
stitches tight enough to give a
puckered appearance to the
darn). Continue reenforcing
the edge and running long
threads across the opening un-
til it is filled with threads as
illustrated. Insert the needle
at right angles to these threads,
weave under one thread, over
one thread across the threads first put in, taking a few running stitches
into the edge beyond. To return, insert the needle very close to the

Figure 64.

349

last stitch, take a few running stitches to the edge of tiie hole, weave
back across as you did before. Continue weaving back and forth

until the hole is filled with
woven threads. In a very
neat darn every thread is
properly woven and the work
is smooth and even without
any puckering. This gives the
hole the appearance of woven
cloth as shown in the lower
portion of Figure 65.

NOTE: In this illustration
white darning cotton was used
in order that the stitches might
show distinctly. In actual
work use thread to match the
stocking.

Where a ribbed stocking has
a run in it, it may be repaired by sewing over and over the run with
thread to match. A silk stocking may have the dropped stitch cro-
cheted back in place. A large hole in the knee of a child's stocking
may be repaired with a hemmed patch (Par. 149) instead of a darn.

CROCHETED CHAIN STITCH.

Figure 65.

Figure 66.

Paragraph 155. The crocheted chain stitch is the foundation
stitch in most crochet work. It consists of a series of loops drawn
through each other in a continuous chain. The chain stitches in
Figure 66, are made of yarn with a bone crochet hook. To begin
the chain stitch tie an ordinary slip knot in the end of the yarn;
insert the end of the hook in the loop and draw it down tight on the
hook. With the crochet hook still in the loop, push the hook forward

350

and catch it around the loose strand of yarn (see Figure 66) and
draw another loop through the one already on the hook. Continue
drawing a new loop through the last one made until the chain of
stitches is as long as desired. ( ch, st. is the abbreviation used in
working directions for chain stitch; 1. is the abbreviation used for
loop).

Linen, cotton thread, or wool yarn are used in crocheting. A
small steel hook is used for thread, a bone or amber hook for yarn.
The directions given here for crocheting are very elementary. More
detailed instruction, with a great variety of patterns, can be tound in
books dealing especially with crocheting.

Figure 67.

SLIP STITCH CROCHET.

Paragraph 156. The slip stitch, which interlocks other crochet
stitches, is made by passing a hook through a completed loop and
drawing the yarn through that loop before drawing it through the
loop on the hook. The slip stitch in Figure 67 is made of yarn with
a bone hook. First crochet a chain as long as desired, then go back
over it, picking up each stitch and making a parallel line of chain
stitches with all the stitches interlocked. To do this, hold the last
loop of the chain stitch on the hook, insert the point of the hook
through the next loop in the chain, and catching the yarn, as in
Figure 67, draw it through the completed loop of the chain stitch and
continue drawing it until it also passes through the loop which is on
the hook. This forms a new loop on the hook; draw this loop tight
and inserting Ihe hook through the next completed stitch, repeat the
process until you have made the number of stitches desired. The
abbreviation for the slip stitch is si, st.

351

This stitch is used in filet work, or any place where a solid
crochet effect is desired and in fastening other crochet stitches
in place.

Figure 68.

DOUBLE CROCHET.

Paragraph 157. This stitch consists of a loop of yarn or thread
drawn through a chain stitch forming two loops on the hook through
which another loop is drawn. To do this, make the chain as long as
desired, then crocheting back over the chain, insert the point of the
hook through the next loop in the chain; draw a loop of loose yarn
through this chain stitch, thus forming two loops on the hook. Catch
the hook in the loose strand of yarn again, as in Figure 68, and draw
another loop through the two loops on the hook, forming a new loop
to begin the next double crochet. Continue as far as desired. The
abbreviation for double crochet is d. c. This stitch is used in a
great many kinds of crochet.

TREBLE CROCHET.

Paragraph 158. In treble crochet, there are three loops on the
hook at one time instead of two loops, as in double crochet. These
loops are drawn ofT the hook in groups of two. To make the treble
crochet, chain stitch as far as desired, then working back over the
chain stitch with the last loop of the chain on the hook, wrap the
loose strand of yarn around the hook once. Insert the hook in the
next loop of the chain and catching it in the loose strand of yarn draw
a loop through the chain stitch, thus forming three loops on the hook;
draw the thread just caught through the first two loops on the hook;
this will leave two loops on the hook. Draw another loop of the yarn

352

Figure 69.

through these two loops, leaving one loop on the hook ready to begin
the next treble crochet. See Figure 69. Continue as far as desired.

This stitch is used in crocheting where a wide stitch is desired,
as in scallops. A half treble crochet is made by wrapping two threads
around the hook, making four loops on the hook at one time. These
loops are taken off the hook in groups of two with three stitches
instead of two, as in treble crochet.

PLACKETS.

Paragraph 159. A placket is an opening left in a garment for
convenience in putting it on, the raw edges being finished to keep it
from tearing or raveling. Plackets are made in skirts, in the bottom
of men's shirt sleeves and in the sleeves of ladies' tailored waists, for
convenience in laundering.

A skirt placket should be sufficiently long to allow the skirt to
slip easily over the head. As a rule, 9" to 12" are allowed, depending
on the size of the person wearing the skirt and the fullness of the
skirt, that is, the smaller the person or the narrower the skirt, the
shorter the placket may be. Generally in a skirt, the upper end of
a seam or pleat is left open for the placket, although in a gathered
skirt or the bottom of a sleeve the opening is usually cut in the ma-
terial. When the placket finishes the opening at the top of a seam,
or pleat, it should appear to be a continuation of the same. A placket
should open from right to left. It is usually held together with
hooks and eyes, or snaps, the hooks and small parts of the snaps
being sewed on the right side, the eyes and large parts of the snaps
on the left, or under side.

353
HEMMED PLACKET.

Figure 70.

Paragraph 160. The hemmed placket consists of a lengthwise
opening finished with a wide hem on the right edge lapped over the
left edge wliich is finished with a narrow hem. To make this placket
(Par. 159), if there is no opening, make a cut the length desired being
careful to cut on a thread. After the opening is made, lap the right-
hand edge over the left-hand edge about %" and crease the fold
formed. Turn in the raw edge, forming a hem about %" wide; baste
with even basting and sew in place with the hemming stitch (Par.
114). The under side of the placket is simply a narrow hem turned
toward the wrong side of the cloth. Make this hem about 3/16" wide
at the top and about 1" from the bottom of the placket; begin to
narrow it down to the fine point shown at the bottom of the hem as
in No. 1, Figure 70. To finish the bottom of the placket, turn the
garment right side out and sew across the bottom of the hems with
two parallel rows of backstitching, or machine stitching. No. 'J
shows the finished placket. It is usually unnecessary to sew fasten-
ings on this style of placket, as there is but little strain on it

This placket is used in a gathered skirt, principally in children's
dresses or in night gowns made with a yoke.

354
BOUND PLACKET.

|MHMgMB|flH^^^^^H , . ^^^H

Figure 71.

Paragraph 161. The bound placket (Par. 159) consists of one
strip of material the same as the garment, which is sewed on the
placket opening double, in such a way as to bind the raw edges. To
make it, cut a strip of material like the garment 2" wide and a tritle
longer than twice the length of the opening left at the top of the
seam. Lay the right side of the strip on the right side of the material
with the long edge even with the edge of the opening. If the placket
is made at the end of a French seam, cut almost across the top of the
seam, being very careful not to cut too far. Baste the edge of the
strip to the edge of the opening making the end of the stitching in
the seam just touch the line on which the placket is to be stitched.
(No. 1, Figure 71, shows the strip basted in place.) When you sew
across the top of the seam the needle should barely catch the edge of
the cloth at the seam. On an overcast or plain seam it is often nec-
essary to drop the edge of the binding strip below the edge of the
placket opening, beginning about 1 " each side of the seam in order to
keep the stitching even on the strip and still catch in the end of the
seam. If too much of the cloth at the seam is sewed into the binding
strip, the bottom of the placket will pucker. Continue to baste the
strip around the opening, running the two edges together again, if
necessary. Stitch in place or sew on by hand with the combination

355

stitch (Par. 108). Turn the edge of the strip over about Vs" toward
the wrong side (see No. 1, F'igure 71), then fold it over again until
the edge Hes just over the line of stitching. Hem neatly in place,
or stitch on the sewing machine. As it is difficult to stitch this edge
so that both sides will look equally well, when the last turning of
the binding strip is stitched in place by machine, instead of by hand,
the seams are generally turned toward the right side. Trim the top
of the strip even with the top of the skirt. No. 2 in Figure 71, shows
the completed placket open.

EXTENSION PLACKET.

•

1 :

♦ ...1

rii^ure r^.

Paragraph 162. The extension placket (Par. 159) consists of two
narrow strips of material of the same goods as the garment in which
the placket is to be made. One strip which is twice as wide as the
first, is used to face the upper edge of the opening; the other is used
to make an extension on the under edge of the placket. The seam
should be left unsewed the desired distance at the top of the garment,

To make the placket, first cut one lengthwise strip "s" wide, about
1" longer than the opening, to face the upper edge. Cut the second
lengthwise strip l^o' wide, the same length as the opening plus 1" for
the extension under the edge of the opening.

To put on the upper facing, lay the right side of the ~W strip on
the right side of the skirt, with the edge even with the edge of the

356

opening, allowing the top to extend slightly above it. Baste with even
basting (Par. 103) and stitch in place with 1/4" seam, being careful to
have this seam in an exact line with the stitching in the seam of the
skirt. Turn the long edge of the facing under Vg" and turn under
the bottom as much as is necessary to make it even with the top of
the seam. Baste with even basting and hem in place (Par. 114), or,
if the placket is made on an under garment, it may be stitched on the
sewing machine. No. 1, in Figure 72, shows the facing and the ex-
tension piece partially basted.

To set on the extension piece, lay the right side of the IW strip
on the right side of the material allowing it to extend slightly above
the top with the edge even with the long edge of the opening. Turn
up the bottom end until it is exactly even with the facing on the upper
edge of the opening. Sew the two edges together (with machine
stitching or the running stitch. Par. 106), with a Vi" seam, which
should continue the line of stitching in the seam ot the skirt. Turn
the extension piece back even with the stitching on the wrong side,
first turning the lower edge in about ^A". Baste carefully in place and
hem down by hand, or stitch on the right side, with the sewing ma-
chine if the skirt is an undergarment. Overhand the bottom edge of
the extension piece to the bottom edge of the facing, and trim the top
even with the skirt. Turn the garment right side out and stitch across
the bottom of the placket pieces with two parallel rows of machine
stitching, or backstitching (Chap. II, Par. 107). No. 2 in Figure 72
shows the right side of the completed placket,

FACED PLACKET.

Paragraph 163. The faced placket (Par. 159) is a combination
of the hemmed and extension plackets, the upper, or right edge of
the opening being turned under in a hem, or faced back with silk
or percaline, while the under, or left edge is finished with a double
or faced strip extending under the upper edge. In making this
placket, finish the upper or right edge first by folding under the
material along its edge so it forms an exact line with the edge of the
material in the remainder of the seam, and continue any stitching
that appears in the seam. Baste along the fold with uneven basting
(Par. 104), trim it down to 1" in width and if the material is light
weight, finish the raw edge by turning it under, basting and hemming
it in place, using very fine hemming stitches, which may be placed
about 1/4" apart (the stitches should scarcely show on the right side
of the material); or if the material is of heavier weight, the edge may
be finished with overcasting, blanket stitching, bias tape or binding

357

Figure 73.

ribbon. When the placket
is completed, the hooks are
sewed on about y^" from
the edge. The ends of the
hooks may be covered as
in Figure 73, by placing a
piece of binding ribbon, or
mercerized dress braid over
them and hemming it down
on the edges.

To finish the left or un-
der side of the placket, put
on an extension piece the
same as in the extension
placket (Par. 162), or cut
a piece of material and a
strip of lining or silk with
which to face it, making each IV2" wide and at least Vi longer than
the opening. Lay the right side of the strip of material on the right
side of the skirt, baste and sew to the edge of the opening with a Vi "
seam, making this seam come in direct line with the skirt seam (trim
olT the edge of the opening if necessary). Press open the seam with
the fingers and face this strip with the lining by stitching the edges
together, turning the facing under and hemming it to the under side
of the material where the extension piece is stitched on. If the
placket comes under a pleat it is necessary to allow this facing to
extend beyond this stitching to make it come under the eyes when
they are sewed on. Then turn in the edges at the bottom, baste them
together and stitch around the bottom and the other edges with
machine stitching. Sew on the eyes opposite the hooks.

This placket is used on silk or wool goods. It is especially de-
sirable to use where a tuck or pleat finishes the seam.

SEWING ON MACHINE.

Paragraph 164, As the sewing machine is a great time saver,
every girl should know how to use it. Before trying to sew on the
machine you should study the general directions that are given in the
book which accompanies the machine. Do not try to learn to use any
special attachments until you have learned to use the machine for
ordinary work. .

You should be able to thread the machine correctly, to oil it, to
adjust the tensions and the length of the stitch. Learn to tread the

358

machine evenly, turning the wheel in the right direction. Before
stitching on a garment, it is advisable to practice stitching on a piece
of striped material, using the stripes as a guide. Be very careful to
keep the fingers from under the needle.

Hold the material which you are sewing smooth and Hat, with the
bulk of it on the table of the sewing machine. Do not pull the work
under the presser foot, but let the feed of the machine work it through.
If the feed of the machine does not do this properly, it probably
needs to be raised. (It is sometimes necessary to pull the material
slightly when sewing over a heavy seam.)

When stitching hems, the edges of bias tape, or bands, stitch very
close to the edge. When stitching basted seams, sew just outside of
the basting threads as it is difficult to remove the bastings after you
have stitched through them.

Remember that a sewing machine, like any other machine, will
last longer and do better work if it is kept clean and well oiled. If
it becomes gummed, oil it with kerosene, run it rapidly, wipe off all
the kerosene and oil it with sewing machine oil using only a drop
in each place where it is needed (be careful to use a good grade of
oil); then wipe the oil from the needle and sew through a piece of
scrap material (without having the machine threaded) until the oil
ceases to soil it.

359
CHAPTER III

CARE, REPAIRING, CLEANING AND
PRESSING OF CLOTHING

THERE probably never was a time in the history of civilization
when so much attention was given to the matters of dress as in
the present day. To be sure there have been periods in which
the wealthy and royal classes were clad in extravagant finery, but
during those same periods the peasants and laboring classes were
known by their garb which was barely sufficient to protect them from
the elements. In our modern civilization when so much thought is
being given to efficiency in all lines of work, we are coming to realize
that our consideration of efficient management should also apply to
our habits of life. This is especially true in matters of clothing.
Aside from the attributes of gentleness and kindness there is perhaps
nothing which is so indicative of personality as ones clothing. This
is sometimes interpreted by the superficial thinker to mean that
costly clothing and striking effects are marks of good taste. How-
ever, this is not true. The really well dressed person is the one whose
apparel does not detract from his personality. Clothing should not
be designed to attract attention by its unusual or gaudy appearance.
A fairly good quality of material neatly made up, well fitting, care-
fully pressed and always immaculate gives the impression of refine-
ment and good judgment on the part of the wearer.

CLOTHING AND PERSONALIIT.

It is not unusual to hear the remark that Miss Blank always looks
well dressed in whatever she puts on. If this is carefully analyzed
you will find that Miss Blank's attractive appearance is many times
due not so much to the expensiveness of the clothing she wears, as
to the manner in which she cares for every detail of her dress, and
to the impression of neatness and carefulness which her appearance
conveys. It does not require expense to be clean, neat and well
groomed. The opposite of these conditions is indicative of careless-
ness, neglect and a lack of culture. Many a person has been refused
a position of responsibility on account of the marks of carelessness
and lack of taste which were evident in the personal appearance.

ECONOMY IN DRESS.
On every hand, we hear expressions relative to the high cost of

360

living and the unusual expense of the things required in daily life.
While this is true, yet there are many ways in which economy may
be practiced without depriving one of real necessities. Our present
high cost of living is due, almost entirely, to an over development of
people's wants; their needs remain the same as in generations gone-
by. It is a wise person who can determine between his needs and
his wants and can adjust this matter in due proportion to his financial
income. By giving some thought and attention to matters of clothing
much of the so-called necessary expense can be saved. It is not un-
common in many homes to find garments discarded for want of a
little repair, or simply because they are not made according to the
latest fashion. It is also common to find excellent clothes badly
abused. Children and young people in i)articular are often thought-
less about the matter of caring for their clothing. Hats and caps
should always be hung up, rather than carelessly thrown in the first
convenient place. Wraps and coats should be hung on suitable hang-
ers. This is especially important if these garments happen to be
damp.

Perhaps you have noticed a fine overcoat with an ugly hump
and wrinkle in the back just below the collar, indicating that it had
been hung on a hook or a nail. Suitable hangers for coats and skirts
are not expensive, in fact they are often given with the purchase of
the suit. They can easily be made, however, by taking a piece of
wooden hoop 16" to 18" long, wrapping it with cloth, covering it with
cretonne or some other attractive material, and providing a piece of
tape for a hanger. Any number of such hangers can be provided
with but little work.

CARE OF CLOTHING.

Ones bedroom should be provided with a good roomy wardrobe.
Sometimes such wardrobes can not be had. This, however, is no
excuse for neglecting to care for ones clothing. The dresser should
serve the purpose of caring for some of the garments. A large dry
goods box can easily be supplied to suit the need; it can be fitted with
shelves and hangers at almost no expense. If properly covered with
cretonne or some other attractive material and fitted with curtains, it
will serve the purpose of the much needed wardrobe and will not be
unattractive in the room.

The laundry bag should have its definite place and should re-
ceive all soiled clothes immediately. Because clothing is on its way
to the laundry is no reason why it should be abused. A soiled gar-
ment may be damaged by bad treatment.

Clothing when removed at night should be carefully folded or

361

properly hung so as to keep it in good condition. Underclothes and
in fact all garments that have been worn should be hung in such a
way as to receive free circulation of air. It is not uncommon — par-
ticularly in a child's bedroom — to find the removed clothing either
scattered about the tloor or thrown in a heap, waiting to be worn
the next day. Such treatment is not only very damaging to the
clothing, but is detrimental to the health of the wearer.

CARE OF CLOTHING BETWEEN SEASONS.

The care of the clothing between seasons is an important matter.
Before clothing is laid away it should be very carefully brushed to
remove all dust. Spots and stains (if there are any) should be re-
moved and the clothing should be hung on a line exposed to plenty
of fresh air and sunshine (unless the material is of such a nature
that sunshine will damage it) in order to make sure that it is thor-
oughly clean before laying it aw^ay. Garments should be neatly
folded and carefully packed away in drawers or boxes provided for
the purpose. If one is fortunate enough to have a cedar chest, it will
be particularly valuable in laying away the furs and woolen garments,
for it will keep out the moths. Where one does not have a cedar
chest, any tight fitting box may be used. A dry goods box or trunk
will answer the purpose. Such a substitute can be made moth proof
by lining it with tarred paper and putting some camphor gum or a
few moth balls in with the clothing. Tobacco leaves are sometimes
used for this purpose.

It is an excellent plan to remove garments from their packing
occasionally and give them a thorough airing. The amount of atten-
tion given to the packing away of clothing will, of course, be gov-
erned somewhat by the value of the clothing, but any garment which
is to be worn the following season should have careful attention.

ALTERING GARMENTS.

It is frequently good economy to remodel a garment which has
been left over from the previous season. This is especially true if
the material in the garment is of a fine quality. Matters of readjust-
ing sleeves, putting in new yokes, trimmings, and the like are so
simple and yet so important in the appearance of the garment that
they should have some attention. No specific rules can be given for
altering garments, but a few general suggestions have been set forth
throughout this text in the Suggestions for Home Application. This
kind of work calls for considerable judgment, but if one will give
thoughtful attention to the subject of altering, remodeling, retrimming

362

and the innumerable ways in which left-over clothing may be util-
ized, the results will be very gratifying.

DYEING.

The matter of dyeing or coloring garments was given a great deal
of attention by our grandmothers, but most of this class of work is
now done by professionals. It is impossible to give specific direc-
tions for dyeing cloth; different kinds of materials require different
treatment. Many different dyes, varying so widely in nature and use,
have been made that it is best, if one expects to do any dyeing at
home, to follow accurately the directions furnished with the package.

CLEANING.

The subject of cleaning garments is a very broad one covering
every line of work from that of the simple principles employed by
the washerwoman to the most technical work done by the professional
cleaner. Regardless of what the science of chemistry has taught us,
the greatest cleaning agent known to the world is water. Without its
use it would be impossible to keep our clothing in a condition suitable
for wear. Although the use of hot water and soap is familiar to
everyone, you will find it extremely interesting to talk with your
mother relative to the treatment of different kinds of clothing in the
laundering process.

LAUNDERING COTTON OR LINEN.

The matter of laundry may seem perfectly simple when you see
the great basket of clothing going to the weekly wash, however, if
you will ask a few questions you will probably find that certain
garments require special treatment. The process of laundering ordi-
nary cotton material is perhaps the most simple. Cotton will stand
almost any amount of hot water and soap. It is not damaged by
boiling soap suds, in fact the boiling of white clothes has been a
standard process for many years in home laundering.

LAUNDERING COLORED GARMENTS.

Colored garments should not be laundered in the same water
with the white clothes; they must be carefully treated to avoid fading
or otherwise changing the colors. The treatment of delicate colors is
too technical for this discussion; it requires an understanding of the
chemical nature of dye materials to be able to prevent fading in some
of them. Different substances, or mordants as they are called, are
used to "set" or fix the colors so thev will not fade. There are a

363

number of chemicals used for this purpose, but they are not com-
monly applied in the home laundry.

Common table salt dissolved in water is often successfully used
to set the color in a new wash garment before putting it through the
regular laundry process. Colored clothes should be dried in the shade
for if exposed to the bright sunlight while drying there is great
danger of the color being faded.

LAUNDERING WOOL.

Wool is much more sensitive than cotton and for that reason wool
garments can not undergo the same process of laundering through
which the cotton materials are taken. On account of its peculiar
scaly surfaced fibers, wool has a tendency to "felt," as has been ex-
plained elsewhere in this text. Extremely high or low temperature
or strong alkali will bring about this felting process and thus destroy
much of the soft elastic nature of wool. If an all-wool garment such
as a sweater is wrung and twisted, in the manner in which cotton
clothes are handled, there is great danger of giving it a hardened
almost board-like nature. If such a woolen garment is hung out of
doors on a very cold day, or if it is washed in strong alkali soap, or
dipped in boiling water, or pressed with an extremely hot iron, the
results will be very similar to those mentioned above. It is therefore
recommended that wool be washed in moderately warm soft water
with especially prepared wool soap (free from strong alkali). It
should not be wrung, but the surplus water should be pressed out of
it. It should then be hung in a room of moderate temperature and
allowed to dry slowly. After such treatment wool garments will be
soft, fluffy and elastic like new.

REMOVING SPOTS AND STAINS.

The matter of removing spots, stains and various discolorations
from garments is an extremely difficult one. In order to advise as to
how a spot may be removed, it is necessary to know what caused the
spot and also to understand the nature of the cloth. (Give the spot
a hard brushing with a stiff brush to remove all dust and loose dirt).
Where the nature of the spot is not definitely known it is a pretty
good plan first to try moderately warm soft water and a mild wool
soap. (Ivory soap has been recommended for this purpose). It is
a good plan to place a clean white blotter under the spot, this will
absorb the moisture; then work from the outside of the spot toward
the center in order to avoid spreading it and making an ugly circle
around the original spot. This in fact is the most difficult rportion

364

of the work for unless the cleaning is carefully done the spot may
be enlarged. If working on white material use a piece of white cloth
to do the rubbing; if working on dark material a piece of dark cloth
may be used. Select for this rubbing process some kind of cloth
which will not leave lint. It is best to use water rather sparingly,
but to use the soap freely; the soap can be gradually worked out of the
material by continuing the rubbing with a clean rag and more water.

If soap and water will not remove the spot some other method
must be tried. A number of different liquid preparations have been
made for the purpose of removing spots, particularly from the finer
materials like the worsteds and the woolens. There is, however, no
liquid which can be recommended for all kinds of materials and ail
kinds of spots, as has been previously explained. If the spot is
caused by grease of some kind, it can usually be removed with the
soap and water process, or with gasoline.

Another liquid which is highly recommended, and is used by
tailors, is a mixture of equal parts of ether, ammonia and (grain)
alcohol. It should be mixed in a bottle so it can be well shaken
before using. As it evaporates rapidly, it should be tightly corked
when not in use.

Before applying this liquid to a spot on a fine garment first try
a little of it on the wrong side on the surplus material in a seam, in
order to determine whether the liquid will damage the color of the
goods. It is never safe to apply any cleaning fluid on the right side
of a fine garment until after you have tested it. There may be some
chemical with which the cloth was colored that will be destroyed by
the cleaning fluid, thus making a worse spot than the original. Apply
the cleaning fluid in the manner described for the use of water
and soap.

Tailors who have a great deal of cleaning to do make a con-
venient rubbing rag or "spotter" by rolling a strip of woolen cloth
about 2V2" or 3" wide into a tight roll and tying it. The ends of the
roll furnish an excellent rubbing rag because it will absorb the dirt
as it is dissolved by the cleaning fluid. Sometimes a small stiff brush
is used to rub a spot. A brush is particularly serviceable if the spot
is on a coarsely woven material. The three-part cleaning fluid rec-
ommended here will be serviceable not only in removing grease but
also in dealing with a great many spots which can not be removed by
gasoline. It is superior to gasoline because it will also remove dirt,
carbon dust, and other impurities which may be contained in the
grease. Gasoline is effective only on grease or oily substances.

305

CAUTION.

In using gasoline or, in fact, any kind of cleaning liquid great
care must be exercised to avoid explosions. Cleaning should never
be done near a fire or a lighted lamp. In fact if the room is closed
there should be no fire or lamp even in the same room where the
cleaning is being done. You should never attempt to dry the ma-
terial or your hands over a fire if they are moist with cleaning lluid.
Gasoline, and in fact all cleaning fluids, are very inflammable and the
greatest precaution must be used.

It is sometimes necessary to clean an entire garment, such as
a silk waist, or a thin dainty wrap. This can be done by washing the
entire garment in a vessel of gasoline allowing it to soak long enough
to remove grease spots. Sometimes when an entire garment is to be
wet it is well to mark the worst spots by sewing around them with
a basting thread; this will enable one to select the spots when the
garment is wet and give them special attention, A garment so washed
in gasoline should be dried in the open air. In fact to avoid danger,
all of this work should be done out of doors, if possible. The odor
of gasoline will soon leave the garment if it is left in the fresh air.
It is not advisable for inexperienced cleaners to attempt to wash a
large padded garment such as a coat or overcoat in gasoline; it is
better to deal simply with the soiled spots as previously explained.

Gasoline in which a garment has been cleaned may be poured
into a tight fitting vessel such as a fruit jar or jug and kept for future
use. The dirt and impurities washed out of the garment will soon
settle to the bottom of the gasoline; the clean liquid can then be
poured off and used again.

A FEW OF THE MOST COMMON STAINS AND THEIR TREAT-
MENT, ALPHABETICALLY ARRANGED.

1. Blood Stains. Blood stains can usually be removed by wet-
ting with cold water, afterwards washing with luke warm water and
soap. The addition of a little ammonia will assist. Hydrogen Per-
oxide to which a few drops of ammonia have been added will remove
blood stains readily.

2. Chocolate and Cocoa Stains. Rub the spot with borax and
soap, wash in cold water.

3. Coffee Stains. From ordinary wash goods spots of coffee and
tea may be removed by i)ouring boiling water through the stained
spots, afterwards washing with soap. If this does not prove effective,
gasoline may be used to dissolve the stain. A few drops of anmionia
added to the gasoline will make it more effective, if the color of the

366

garment will permit the action of ammonia. When the spot is com-
pletely absorbed the gasoline may be washed out with warm soapy
water. Washing soda will often prove effective in removing stains of
tea and cofTee.

4. Fruit Stains. Most fruit stains can be removed from white
material by the application of boiling water. Peach stain is not so
easily removed as other fruit stains. It will generally require some
sort of bleaching process. Stretch the fabric tightly over a bowl and
pour the boiling water through it, allowing the water to fall from some
distance. Hydrogen Peroxide with a little ammonia added will
usually be effective. A little powdered borax rubbed on the stain
when boiling water is being poured through will also assist in re-
moving most fruit stains. If the stain is on an expensive colored
garment it is safer to send it to a professional cleaner.

5. Grass Stains. Grass stains can usually be dissolved with milk.
If this is not effective try alcohol or ammonia. Hydrogen Peroxide
with the addition of a few drops of ammonia will be effective, al-
though it should be carefully tested before applying to a fine garment
of dainty color.

6. Ink. Ink spots are extremely difficult to remove due to the
fact that so many different chemicals are used in the composition of
ink. If one could know exactly of what the ink was composed, it
would not be difficult to remove it. Most ink removers are so strong
that they also remove the other color from the material. As most
ink contains acid it can often be dissolved by application of an acid
of some sort. Lemon juice and salt will usually be effective. Strong
sour milk will sometimes give good results. If these remedies fail
and if the garment is a very expensive one it should be entrusted
only to the professional cleaner.

7. Iron Rust. Iron rust is a very common stain, but can be
easily removed with acid. Hydrochloric (Muriatic) acid is most fre-
(juently used. A few drops of acid can be dropped on the spot with
a medicine dropper or applied with a glass tube. The acid should be
applied and the spot rinsed in water. This process should be repeated
over and over until the spot disappears. The repeated dopping is
very much better than allowing it to soak in the acid.

8. Mildew. Mildew can usually be removed by dampening the
spot repeatedly and exposing it to strong sunlight. It may be neces-
sary to use some soap solution in washing the spot. Sour milk, which
contains considerable acid, is also effective in removing moulds and
mildew stains.

9. Milk Spots. Cold water and pure white soap will most gen-
erally remove a milk spot. If this is not effective apply glycerine and

367

rub it with a stiff brush. When thoroughly soaked, wash it carefully
with luke warm water and soap. Any stain made by milk or anything
containing considerable protein should be treated with warm or luke
warm water and soap. (A protein stain should not be cleaned with
boiling water.) If stains caused by different fruit juices can not be
removed by luke warm water they should be treated with boiling
water.

10. Oil. Oil stain may generally be removed by washing with
cold water and plenty of soap; as it is a protein stain it should not
be treated with boiling water until after it has been thoroughly
washed. If the soap is not effective the spot might be saturated with
kerosene and allowed to soak. This will usually be effective.

11. Paint. Paint or varnish are usually rather difficult to re-
move. If the stain is taken when fresh it may usually be removed
by dissolving with turpentine or gasoline. Either of these treatments
will dissolve the oil and the colored matter can be brushed out when
dry. After a paint stain has become thoroughly dry it is very diffi-
cult to remove and probably should be undertaken only by a pro-
fessional.

12. Scorch. A scorched spot can be removed by dampening it
and exposing it to bright sunlight. Of course the scorched spot can
be removed only when it is very slight and the fiber of the goods is not
seriously burned. There is no remedy if the material is badly burned.

13. Tea Stains. See No. 3 and follow same method.

14. Unknown Stains. The treatment of unknown stains is nec-
essarily a matter of experimenting. One should try only the milder
remedies first in order to avoid damaging the goods. A great many
stains can be readily removed by being moistened and exposed to
sunlight. This bleaching process should be used wherever possible
for it is both cheap and safe. Never attempt to remove an unknown
stain with a remover which is likely to damage the color of the
garment, until the remover has been tested to make sure that it is
perfectly safe.

15. Varnish. See No. 11 and follow same method.

PRESSING.

Everyone is more or less familiar with the simple processes of
ironing clothes for the purpose of making the surface smooth and
attractive. While there is much that can be said regarding the
treatment of different fabrics in ironing, yet most of this information
can be acquired by talking with your mothers at home.

The subject of pressing garments is very important. As the term

368

is generally used it refers not to the common process of ironing
connected with laundry work, but to the process of dealing with
woolen and worsteds and other line fabrics to bring them back to
their original shape and appearance when new. In order to under-
stand the matter of clothes pressing, it is well to think of the processes
through which the woolen goods are taken at the factory. There are
a great many difTerent treatments given to line fabrics to product-
special finishes, but most of them include dampening the cloth (usu-
ally with steam) in order to soften the woolen fibers and make them
perfectly pliable. The cloth is then stretched straight and smooth
and held in this position until it becomes thoroughly dry. Different
special finishes are also given whatever treatment is necessary to
bring about the desired effects. Woolen material so dampened,
stretched, and dried will retain its shape and smoothness for a long
time.

In order to do home pressing properly, woolen materials must
be taken through pretty much this same kind of treatment. As it is
not convenient to steam a garment before pressing it, a simple way or
getting the same results has been devised.

GENERAL SUGGESTIONS FOR PRESSING.

Before beginning the actual pressing work on any garment all
loose dust and dirt must be brushed out of the cloth, spots and stains
must be completely removed by some of the methods already de-
scribed. If dust and dirt are left in the material the steaming process
may cause the cloth to look dingy.

Sometimes a garment has a shiny appearance which needs to be
removed. There are a great many ways in which this can be dealt
with. A hard brushing with a stiff brush will often prove effective.
Sometimes it will be necessary to rub the spot lightly with very fine
sand paper, other times such an effect can be removed by sponging
the spots before finishing the pressing.

Any garments to be pressed should be laid perfectly straight
and smooth in the desired shape. Pressing is sometimes done directly
on the wrong side of material, this, however, is not a good practice
for beginners. You should work on the right side according to the
following directions.

A piece of wet cloth (a soft well worn piece of canvas or un-
bleached muslin is satisfactory) should be placed smoothly over the
garment. This wet cloth should be covered with another perfectly
dry piece of heavy material (a piece of canvas would be suitable for
this purpose). The hot iron is then applied to the dry cloth. The

3()9

heat of the iron produces steam from the wet cloth and causes it to
pass into the garment which is being pressed. The dry cloth on the
top serves to hold the steam and thus forces it into the garment. In
order to prevent wrinkling it is well to jiress with a straight downward
pressure, as much as possible, rather than v>ilh a rubbing motion.
The pressing cloths should be removed, and while the garment is
soft and pliable from the dampness of the steam, it should be
stretched, smoothed, or pulled into its proper shape. This is par-
ticularly true in pressing garments like men's trousers or a skirt
which may be considerably out of shape. The damp cloth should be
again applied and covered with a dry one; the pressing should con-
tinue either until the damp cloth is perfectly dry, or the damp one
may be removed and the final pressing done with the dry one alone.
The pressing should be continued until the garment is perfectly dry.
The most important point is to make sure that the garment is
absolutely dry before the pressing ceases. If a garment is left damp,
all the tiny fibers of the wool being soft and pliable, it will not hold
its shape long. However, if the pressing is done until the material
is absolutely dry, the garment will remain in fine condition for a
long while.

PRESSING EQUIPMENT.

HiHiie Pressing Outfit.

370

No special equipment is required to do home pressing. Tlie
work may be done on an ordinary ironing board, although a table
will usually be found more convenient. If a table is used it should be
protected with several thicknesses of cloth or blanket covered with a
piece of muslin. It should be of sufficient thickness to form a pad.
The accompanying illustration shows the work being done on an
ordinary kitchen table. You Mill notice that a very large iron is used.
Such a large heavy iron is particularly desirable, however, if you
-do not have one the small flat iron with which the family ironing
is done will be satisfactory.

A good stiff clothes brush, a brush broom, a bottle of cleaning
liquid and a pan of water constitute about all the equipment neces-
sary. On the rear of the table in this illustration you will see a press-
ing board. This is especially desirable in pressing garments like coats
and vests for it is convenient in working around the shoulders, the
collars and the sleeves as explained in a following illustration. For
the pressing cloth you should be provided with a large piece of heavy
unbleached muslin or a piece of toweling may be used.

TO PRESS A PAIR OF TROUSERS.

Trousers are not difficult to press. They should first be carefully
cleaned as already explained. One leg should be pressed at a time, the
other being folded back out of the way. It is usually found more
convenient to press the inside of the leg first then turn it over and
press the opposite side of the same leg, always keeping the other leg
folded back out of the way. Trouser legs should be so pressed that
the inside and the outside seams come together. This will make a
straight crease down the front and also down the back of each leg.
Trouser legs should be pulled perfectly straight to remove the full-
ness or bagging tendency at the knee.

Lay the trousers flat on the table making sure that the seams are
placed as above described. Wet one of the pressing cloths and lay it
smoothly over this leg. Lay a dry pressing cloth over the wet one and
apply the hot iron. It is well to remove both cloths and pull the leg
straight and see that the seams are properly placed before completing
the pressing. The material will be found very soft and pliable after
the steam from the cloth has entered it. After getting a leg properly
shaped and all wrinkles smoothed out, lay the pressing cloth again in
position and continue the pressing.

The damp cloth may be removed and the work completed work-
ing with a dry cloth alone. Carefully turn the trouser leg over and
press the opposite side of the same leg. The second leg should be

371

pressed exactly like the first. Do not forget to continue pressing until
the garment is perfectly dry.

PRESSING A VEST.

A vest is a very easy garment to press. It should be pressed on a
pressing board in the manner shown in the illustration. If you do not
have such a pressing board, it may be pressed on the corner of the
table in a satisfactory manner. The process of pressing with one wet
and one dry pressing cloth is the same as pressing the trousers.

PRESSING A COAT.

A coat is much
more difficult t o
press because of its
irregular shape and
heavy padding. A
beginner should
not undertake to
press a coat, but
should practice on
some of the easier
garments such as
trousers, skirts or
a vest. The accom-
panying illustration
shows the position p„^iti^„ ^^^ Pressing Lapel.

I'nsition for Pii-ssiiii;; IJack

of the coat on the
board ready for the
lapel and the front
to be pressed. The
coat is then shifted
about on the board
to convenient posi-
tions for pressing
the other parts.

The next illustra-
tion shows the pos-
ition of the coat
ready for the back
to be pressed. A
little experimenting
and practice will
enable vou to find

372

a position in which you can press the difTerent parts of the coat very
satisfactorily. As a coat is heavier on account of the padding, it will
require more time to press it thoroughly dry. All the while you are
pressing a fine garment it is well to keep in mind the fact that it is
very valuable and that a title carelessness might ruin it by scorching.

You will find the pressing of clothing very interesting and it
will be well worth your while to practice it in your home.

A moderately expensive suit of clothes kept clean and well
pressed always gives a much better appearance than a very expensive
suit which is more or less soiled and neglected. Much can be added
to the life of a suit by the careful cleaning and pressing explained
in this chapter.

TO PRESS A WOOL DRESS.

The dress should be thoroughly dusted and all spots removed
before pressing. To press a plain skirt, lay it over the ironing board,
with the bottom of the skirt on the wide end of the board; stretch
it smooth and place a piece of cloth wrung out of water over the
skirt. Cover this piece with a dry piece of heavy cotton material (the
second cloth may be omitted but the pressing is more easily done
with it). Apply a hot iron with a straight downward pressure; iron
until the skirt is well steamed, then remo\'e the wet cloth and iron
on the dry one until the material is dry. Continue this process until
the entire skirt is pressed.

Before pressing a pleated skirt, baste the pleats in proper posi-
tion, or stretch the skirt on the ironing board until the pleats are
straight and pin them at the bottom. If the pleats are not basted,
straighten and pin them as you continue to press the skirt.

A wool waist is usually pressed on the wrong side; it is dam-
pened by rubbing a wet cloth over the wrong side of the material.
(Be very careful not to scorch the material). In pressing a sleeve
where no crease is desired turn it wrong side out, dampen by rubbing
with wet cloth and press it over a magazme which has been rolled
and slipped inside of the sleeve.

TO PRESS A SILK GARMENT.

Silk is very susceptible to heat; therefore, in pressing silk gar-
ments care should always be taken to see that the iron is icanii,
rather than hot. Turn the garment wrong side out, and if necessary
dampen it by rubbing a slightly dampened clolh over its surface, then
press with a warm iron.

Wash silks and ribbons when washed should be rolled in a
towel and allowed to remain there a while to remove the excess of

373

moisture; then they may he ironed hy phicing a cloth over them and
pressing until the silk is partly dry, then remove the cloth, turn
wrong side out and iron until perfectly dry.

You should experiment on some of your older and cheaper
garments until you have become sutficiently acquainted with the
methods of cleaning and pressing clothes to enable you to take good
fare of your garments; you can thus not only save considerable ex-
pense in matters of wearing apparel, but you will also convey the
impression of carefulness and good taste in dress.

374
CHAPTER IV

PATTERNS AND PATTERN DRAFTING

GENERAL DISCUSSION.

JrST how much should be undertaken in the matter of pattern
drafting in public school work has been a question of consider-
able discussion. There is no doubt that the technical considera-
tion of the subject belongs to the vocational school; as it is usually
taught it has little or no place in the average secondary- or elementary
school. This is the decision of most educators who have given the
subject much thought. Their opinions have probably been formed
largely on account of the manner in which the subject of pattern
drafting has been presented. Too often the subject is approached
with only one idea in mind, that of producing the most satisfactory
pattern for a particular garment, with but little consideration of the
underlying principle by which the pattern is constructed. In such
teaching the making of the pattern is the desired end in itself
rather than merely a means.

A great many patent methods have been devised for the laying
out of patterns. They are accompanied by their own rules, squares,
angles, and peculiar instruments for the development of curves, pro-
portions, etc. Such purely mechanical effort is out of place in edu-
cational work. It is not desirable that the public schools should
undertake to do much in pattern drafting as a professional subject.
There are, however, a few points which can be intelligently ap-
proached and which, for that reason, should not be ignored.

Students who are studying sewing to the extent of garment
making should certainly understand taking measures and applying
those measures in lading out and constructing simple patterns.

In presenting the subject of pattern drafting and garment making
there is always one almost insurmountable difficulty. With each
change of season and, in fact, even oftener the styles vary so much
that the particular cuts and proportions which were considered good
taste at one period are soon cast aside as out of style.

Throughout this text it is the purpose not to cater to particular
styles and fancies, but to present only fundamental principles which
should form the basis of all styles. The human form is the same
from generation to generation and therefore the essential principles
involved in fitting the human form do not vary materially. These are
the ideas which this discussion in pattern drafting attempts to present.
Care has been exercised to avoid anv hard-and-fast set of rules to be

375

followed mechanically for such procedure fails to develop inde-
pendence of thought and judgment which should be brought to bear
in every step. Pattern drafting will thus be treated not as an end in
itself, but as a means toward a clear comprehension of the art of
making garments.

Skillful dressmakers do not rely upon some memorized set of
rules for drafting. They must be sufficiently in command of the
subject to be able to make their own patterns intelligently, or to use
conunercially prepared patterns and to alter them and adapt them
to the figure at hand and to the particular style to be presented. In set-
ing forth any single set of rules for pattern drafting there is great
danger of enslaving the student to the mere detail of the system
rather than to give that student a broad conception of the function
of the work which is necessary to the development of independent
thinking. If a student develops a keenness of taste and appreciation,
learns how to utilize commercial patterns, and how to adapt them
to different figures and styles, from an educational standpoint the
work must certainly be pronounced a success.

Freehand drawing is exceptionally beneficial in connection with
this work. Students should learn to draw the various curves incident
to pattern construction freehand rather than to attempt to follow
definite or specific rules. After all it is a matter of developing the
judgment which the work seeks to bring about. Any little girl who
has ever attempted to make a doll dress has some appreciation of
the necessity of a pattern. In fact there would be no better way of
impressing the general function of patterns than to drape some cheap
material or paper about a dress form, and then by freehand cutting
remove the surplus parts and develop the material into a pattern
which could be satisfactorily joined into a fitting garment. The
problem of fitting the human form neatly and gracefully is always
the problem to be considered when patterns are being developed.

It is sometimes thought that on account of the many changes
brought about by styles — the fact that sleeves are sometimes large at
the bottom while the next style may call for the fullness at the top —
the skirts are sometimes full at the bottom and other times narrow —
would make it impossible to present any definite instructions for
drafting. Such is not the case for, as was previously set forth, the
human form does not vary, therefore, the foundation plan uj)on which
all patterns are drafted remains identical. The commercial companies
that prepare patterns are able to use their foundations to develop
whatever patterns are required to meet the passing styles.

In this discussion an effort is made to present a simple straight

37G

line method whereby patterns for typical garments may be drafted.
There are really only a very few general types or shapes of garments;
for illustration, the waist represents the fundamental principles from
which an almost innumerable host of modified garments have been
devised; the variation in shapes of necks, collars, sleeves, shoulders,
etc., etc., are but minor points in the art of waist making; the scientific
principles — the foundation elements of the garment — are scarcely
disturbed. For illustration, the pattern of the tailored waist makes
no elTort to follow any set style, for it can readily be appreciated that
this drafting could not change from time to time so as to keep in
line with the small variations in details which may be brought about in
those garments. Definite instructions are, therefore, given for making
a foundation waist pattern, and suggestions are offered showing how
this foundation pattern may be altered to meet the variations of style.

The standard skirt is the type from which almost unlimited
modifications are developed to suit the dictates of fancy; petticoats,
under skirts, princess slips and all their kindred are outgrowths of
the one foundation.

A skirt pattern is, therefore, presented in a manner similar to the
waist pattern. Whether a skirt should be made of five, seven or any
number of gores is a matter to be dictated by fashion, but the founda-
tion principles upon which this skirt is constructed do not vary,
therefore, in this discussion, directions are given for the drawing of a
foundation skirt pattern. It can then be constructed of any number
of gores, and made with any other minor details which fashion may
dictate without violating any of the principles herein presented.

In each type garment presented in this chapter, an elfort is made
to carry out this same idea. From these type garments practically
all of the common garments can be developed; this is explained some-
what in detail in connection with the presentation of each type i)attern.

EQUIPMENT FOR DRAFTING.

For drafting patterns according to the straight line method you
should have the following ecjuipment: one yard stick, pencil, tape
measure, ruler, drafting paper (Manilla wrapping paper 30" to IW
wide; the wide paper is more desirable).

TAKING MEAS11RP:MENTS FOR A FOUNDATION SHIRT WAIST

PATTERN.

The success of your pattern drafting will depend very greatly
on the accuracv of vour measurements. The measurements mav be

377

taken over a thin waist, preferably with set-in sleeves. It is diflicult
to take the measurements accurately over a waist made with kimono
sleeves, but it' such a waist is worn when measurements are taken
the shoulder seam and armhole should be indicated wilh a row ot
pins. Locate waist line by pinninj,' a piece of tape, or a tape measure
around the waist.

The following measurements are necessary in order to draft the
shirt waist pattern illustrated:

Neck. A close measurement around the lower part of the neck.

Shoulder. The measurement from the base of the neck to I lie
end of the shoulder.

Depth of Armhole. Locate the line for this measurement by
j)inning a tape measure around the body, close under the arms.

For front depth of armhole, measure from the base of the front
of the neck to the top edge of the tape measure. Be careful that this
measurement is not too long; it should be about 4" to 5^2 "•

For the back measurement, measure from bone at base of neck
to top edge of tape measure. This measurement should be longer
than the front measurement.

Bust. An easy measurement across the fullest part of the bust
with the tape measure placed about 1" below the armhole and ele-
vated slightly in the back ( stand behind the person to take the
measurement); add 3" for fullness.

The Back Bust. Measurement from one under-arm seam to the
other across the back.

The Front Bust. The ditTerence between the entire bust measure-
ment and the back bust measurement.

Under Arm. Measurement from close under the arm down to the
waist line indicated by the bottom edge of the tape measure.

Length of Front. Measurements from base of neck in front to
waist line as indicated by the bottom edge of the tape measure.

The Length of the Back. The measurement from the large bone
at the back of the neck to the waist line indicated by the bottom edge
of the tape measure.

Width of Chest. Measurement made 2" below the base of the
neck across the front of the body from the place where one arm joins
the body to the same place on the other side.

Waist Measure. A tight measurement around the waist.

378

DRAFTING A FOUNDATION SHIRT WAIST PATTERN.
THE FRONT.

NOTE: You should make
a careful study of the illus-
tration given here, locating
each point and thinking
through every operation con-
nected with making the pat-
tern. Most students who
have difficulty in drafting
patterns can trace their un-
satisfactory work to the
hahit of trying to follow
directions hlindly, without
considering the reasons, or
exercising judgment in the
various steps.

You will also find it very
profitable to secure a plain
waist and skirt pattern of
any reliable pattern company and study them piece by piece until you
know in general about what shaped pieces you are attempting to draft.

As this pattern is drafted for only one-half the waist, you will
use measurements for half of the chest and half of the front bust
in drafting it.

For construction lines draw line AB 2" from the right-hand edge
of the paper; draw line AC at right angles to it.

To Draft the Neck. To lay out the neck at the shoulder, measure
2" from point A on line AC and locate point L; to lay out the neck
at the center front, measure down 2" from point A on line AB for a
neck measuring 12" (increase this measurement Vs" for each W
increase in neck measure, for instance for a neck measuring 13",
measure 2i/4", etc.).. This locates point M; connect points L and M
with an easy inward curve as in the illustration.

To Draft the Shoulder. From point L, measure out on line AC
the measurement for the shoulder, locating point N; drop a perpen-
dicular line IW (if the shoulder is very sloping drop this line 2").
Draw a line from point L through the end of the perpendicular line.
(This is shown by a dotted line in the illustration.) Lay out shoulder
measure on this line, measuring from point L, thus locating point O.

379

To Draft the Armhole. As the chest measure is taken 2" below
the base of the neck, locate the place for the chest line on the pattern
by measuring down from point M 2" on line AB; call this point P;
from point P draw a line parallel to the line AC. Lay out one-half
the chest measure on this line, locating point Q. To locate the under-
arm seam and base of armhole, measure down the depth of front
armseye from j^oint M on line AB and locate point R; draw the line
RS parallel with line AC and equal to one-half of front bust measure.
Connect points OQ and S with a curved line, allowing it to drop 1/2 "
below the line RS, as in illustration.

To Draft Under-arm Seam. From point S drop a line parallel to
line AB the length of the under-arm measure and locate point T;
measure 1" to the left, locating point U, and draw a slanting line from
point S through this point. Line US should equal length of under-
arm measure.

The pattern should be made to extend about 4" below the waist
line, forming a tail, or skirt, as it is sometimes called. The under-arm
seam must slant out below the waist to allow for extra size at the hips.
To obtain the slant for this line, lay the yard stick so it touches the
points L and U and draw the line UW 4 " long. For a person with
extra large hips place yard stick on points M and U to draw the line
UW. From point M measure down on line AB the measurement for
length of front; locate point V. Draw line UTV (this is the waist
line), extend it beyond line AB to the edge of the paper. For the
bottom of the skirt, draw the line WX parallel to line UV, allowing
it to extend to the edge of the paper.

To give extra fullness to the bottom of the waist, draw a slanting
line from point M to point X.

To Draft the Seams. Draw lines parallel with and ^o" outside
of the shoulder and under-arm seam.

THE BACK.

The back pattern also is drafted for only one-half the waist,
therefore, you will use measurements for one-half the neck and
back bust.

Draw a construction line AB parallel with the left edge of the
paper; draw line AC perpendicular to it.

To Draft the Neck. To lay out the center back of the neck,
from point A measure down on line AB ^2" for a neck measuring
12" to 14" (measure down %" for neck measuring 14" or over); mark
point L. To lay out the neck at the shoulder (the size of the neck on

380

the back of the waist should be Vs
of the entire neck) measure out
from point A on line AC yi of V2 the
neck measure. Mark this point M.
Draw a curve connecting points L
and M.

To Draft Shoulder. From point
M on line AC, lay out the shoulder
measure, locating point N; to make
the slope on the shoulder, drop a
perpendicular line from N 2V4" for
an ordinary shoulder (for a very
sloping shoulder make this line 2V2"
long). With a ruler on the end of
this line, draw the slanting line MO,
the length of the shoulder measure.
To Draft Armhole. On the line
AB measure down one-half the
depth of armhole measurement and
locate point P. At point P draw a line parallel with line AC. From
point O, drop a perpendicular to this line. As the armhole curves
in slightly from the shoulder, measure in Yi" locating point Q. To
locate the bottom of the armhole and the top of the under-arm seam,
measure down from point A on line AB the depth of armseye meas-
urement and draw the line RS parallel with line AC, equal to one-
half the back bust measurement. Connect points OQ and S with a
curved line as in the illustration.

To Draft Under-arm Seam. From point S drop an indefinite
perpendicular line. On this line from point S lay out the under-arm
measurement and mark the point T. As the under-arm seam should
slant in toward the center back at the waist line to remove fullness
under the arm, measure in and up slightly from point T locating point
U; draw a line from point S to point U. This will be the under-arm
seam and should be the length of under-arm measurement.

To form the line for the center back, measure down from point A
on line AB the length of back measure. One-half inch in from this
point, locale jioint V; draw the line AV, allowing it to extend at
least 4" beyond point V. Draw the line W for the waist line.

To Draft Skirt of Waist. To allow for the extra size over the
hip, the under-arm seam nmst slant out below the waist line the same
as for the front pattern. To draw this line, lay the yard stick on

381

points M and I' and draw the line UW 4" long. For an extra large
hip place one end of the yard stick on i)oint L instead ot point M.
Dra\v the line X\V parallel with AC for the hottom of the waist.

To Draft Seams. Draw lines parallel with and ^ ■_>" outside of the
shoulder and under-arm seams.

DIRECTIONS FOR USING SHIRT WAIST PATTERN.

For a waist which is to be opened in the center front, lay the
center back represented by the line AX on a lengthwise fold of the
material, thus cutting the back in one piece. For a waist which is
to be opened in the center back, lay the hems the width desired and
place the center back of the pattern on the center of the hems.

As no allowance is made for finishing the hems on the center
front of the pattern, the center opening of the waist may be tinished
as desired and the center front of the pattern rejiresented by line MX
may be placed in the line where the fastenings are to be sewed.

If a tucked waist is desired, the tucks may be laid in the material,
the pattern j/laced over them and the waist line cut out the same as
for a plain waist. If a yoke is desired, the shape may be marked with
a pencil on the upper part of the pattern. Extra allowance should be
made for seams along this edge when the waist is cut out. If fullness
is desired in the waist below the yoke, lay a pleat in the material
lengthwise, wide enough to allow for the fullness desired.

ONE-PIECE FOUNDATION SLEEVE.
MEASUREMENTS.

Length of Arm from Shoulder to Wrist. Measure from end of
shoulder to the wrist.

Armhole, Measurement around the arm where it joins the
shoulder (an easy measure), about the size of the armhole of the
waist.

Shoulder to Elbow. Measurement from the end of the shoulder
to the ])end in the elbow.

The Hand. With the thumb closed over the palm of the hand,
take this measurement around the broadest part of the hand.

DRAFTING THE SLEEVE PATTERN.

Study carefully the accompanying drawing. This j)attern is
to be drafted on a double fold of the paper; use the folded edge of the

382

paper for line AB; draw line AC at right
angles to line AB.

To Draft the Top of the Sleeve. For a
smooth fitting sleeve, 4" is allowed for
the height of the curve for the upper
part of the sleeve; this measurement
should be increased if the sleeve is made
wide enough at the top to be gathered
in the armhole of the waist.

Draw the line LM 4" below Tnd par-
allel with the line AC, making it equal
to one-half the armhole measurement,
plus Vo". To locate the point where the
under-arm curve should cross this line,
measure in from point M one-fifth of
the armhole measurement and locate
point N. To locate the point where the
top curve of the sleeve should begin,
measure from point M on line ML two-
fifths the length of the armhole measure-
I ment and locate point O; erect a per-
pendicular line to line AC; measure
down on this line % " locating point P, which will aid in drawing the
under-arm curve the right shape; draw line AM for the top curve and
line APNM for the under-arm curve of the sleeve.

To Draft the Remainder of the Sleeve. Locate point S at the
bottom of the sleeve by measuring down on line AB the length of the
shoulder to wrist measurement. At point S draw a line at right
angles to line AB. Draw the line QR parallel with and equal to line
AS. To lay out the width of the sleeve at the bottom, measure in
2y2" to 3" (depending on fullness desired) from point R on line SR,
locating point T. Draw the line MT. To allow for the bending of
the elbow, the bottom of the sleeve should be a trifle lower on line
AB than at point T; H" from point S on line AB locate point S2; draw
a slanting line from point S2 to point T. This forms the bottom of the
sleeve which may be gathered into a narrow band to fit the wrist.
To shape the sleeve on the seam where the elbow bends in,
measure down from point A on line AB the shoulder to elbow
measurement; locate point V; from point V draw a line parallel with
line AC, locating point W where it crosses line MT; measure in from
point W on line VW ^2", locating point X; draw lines MX and XT.
These lines form the under-arm seam on the sleeve.

383

If the cufT is to be used on the bottom of the sleeve, measure up
from point S the width desired for the cuff and draw line YZ parallel
to line ST. Measure down 1/2" from point Y and locate point Y2;
draw the slanting line Y2Z (a tailored cufT is made 2y2" wide, as a
rule). The placket opening for tailored cuff may be cut on the line AH.

If this sleeve is to be fitted in at the wrist without a band, or cull,
line ST should be made equal to one-half the hand measurement.

To allow for a seam on the sleeve, draw lines parallel with, and
V2" outside of lines MX and TX. With the paper folded cut out the
pattern on the heavy lines around the top curve, on the under-arm
seam and the bottom of the sleeve. Open the pattern to cut out the
under-arm curve.

Laying Pattern on the Material. Both sleeves may be cut out at
one time by laying corresponding sides of the material together so
you will have a sleeve for each arm, instead of two for one arm.
Open the pattern and place line AB parallel with the warp thread of
the material.

Modification of the Sleeve Pattern. The sleeve may be made full
at the top by increasing the length of lines AL and LM. It may be
made wider at the bottom by increasing the length of line SR. It
may be made any length desired by drawing a line parallel with S21'
any length desired on the sleeves. If tucks are desired, either cross-
wise or lengthwise of the sleeve, they may be made first, after which
the sleeves may be cut out the same as a plain sleeve.

DEVELOPING OTHER PATTERNS FROM THE SHIRT WAIST

. PATTERN.

CORSET COVER.

A corset cover pattern may be developed from the shirt waist
pattern in the following manner: For the front, measure up from the
end of the shoulder line of the waist pattern one-third the length of
the shoulder. Measure down from the base of the neck of the pat-
tern 3" or 4" to the point desired for the top of the corset cover.
Allow 2" extra on front of pattern for fullness; connect top of front
and shoulder with an inward curved line. Cut off the pallorn at
the waist line.

For the back of the corset cover measure up from the end ot
the shoulder line one-third the length of the shoulder; measure down
from the center of the neck to the point desired for the top of corset
cover; connect this point and shoulder with curved line. Cut off' the
pattern at the waist line.

384

CHEMISE.

Eor the front of the chemise, measure up from the end of the
shoulder of the shirt waist pattern one-third the length of the shoul-
der; measure down from the base of the neck of the waist pattern to
the point desired for center front of neck of chemise, allowing 2"
on the center front for fullness; draw a curved line and connect the
point marked for the top of the shoulder with the center front of the
neck. Measure down from this point the length desired for the
chemise. Continue the under-arm seam of the waist down the length
desired for the chemise. Connect the center front of the bottom with
the under-arm seam, allowing the line to curve up a little (about P2")
for the bottom of the chemise.

For the back, measure down from the center back of the neck on
the pattern to the point desired for the top of the chemise, allowing
2" on the center back for fullness; measure up from the end of the
shoulder seam one-third the length of the shoulder; draw the curve
for the neck, connecting the shoulder and center back. Make the
chemise the same length in the back as the front. F'rom the perpen-
dicular line at the under-arm seam in the shirt waist draft, measure
out IV2" at the waist line and draw the line for the side seam of the
chemise through this point, making the seam as long as the seam on
the front of the chemise. Lay the center front of the chemise pattern
on a fold of the material when cutting it out. Do likewise when cut-
ling out the back of the chemise.

NIGHTGOWN.

A nightgown pattern may be developed from the shirt waist
pattern in the same manner as suggested for the chemise, except that
the nightgown is made long enough to touch the lloor. When the
length is laid out on the center front a line is drawn perpendicular to
it at the bottom and one-fourth the desired width of the nightgown
is measured out on this line. This point is connected with the top
of the under-arm seam of the waist. The back of the nightgown is
laid out in the same manner.

SUGGESTIONS FOR FITTING WAIST.

Put on the waist right side out and pin it together. Place a tape
measure, or piece of cotton tape over the garment at the waist line
and adjust the fullness at the bottom of the waist. If the shoulder
seam lies straight along the top of the shoulder from the base of the
neck to the end of the shoulder, if the under-arm seam runs from the
center of the under-arm to the waist line slanting a tritle toward the

385

back and the waist is tree from wrinkles of any kind with sufficient
fullness across the bust, your waist will need no alterations.

If the waist wrinkles from the neck to the bottom of the arm-
hole, the shoulder seam slopes too much. Re-pin it, makinj- the seam
narrower at the end of .the shoulder.

If the waist wrinkles crosswise at the top of the back, or front,
it should be altered at the neck and shoulder; cut out the neck a trille
(it is a good plan to make short crosswise cuts across the curve of
the neck before cutting out the material) and make the shoulder seam
narrower at the end of the shoulder.

Where the waist wrinkles down at the curve of the armseye it
should be cut around this curve. It is advisable to make crosswise
cuts in the edge, as suggested for the neck, before cutting out the
material. If the waist is too loose at under-arm seam, the seam should
be taken up until the waist fits smoothly. (Be very careful not to fit
it too closely at this point.) If the waist is to be finished with a
peplum or band, trim it otT the width of a seam below the waist line
(be very careful to leave the waist long enough so it will not pull U])
above the belt of the skirt when the arm is raised).

SLEEVE.

Place the sleeve in the armhole of the waist with the under-arm
seam about 2Yi" to 2^2" from the under-arm seam of the waist. See
that the seam of the sleeve hangs straight to the front of the wrist and
that the top of the sleeve hangs straight to the back of the hand when
the arm is dropped straight down at the side. Pin the sleeve in the
armhole, being careful that neither the waist nor the sleeve draws in
any place when the arm is raised or lowered. Bend the elbow and
see that there is sufTicient room to do this without straining the seam
of the sleeve at that point. Pin the sleeve up at the bottom to make it
the desired length. A sleeve should fit easy on the arm, otherwise it
will be uncomfortable and will be likely to pull out at the seams.

FOUNDATION SKIRT.
MEASUREMENTS.

Waist Measure. A close measurement around the smallest part
of the waist. Before taking the other measurements, pin a tape
measure or narrow strip of muslin around the waist; let the bottom
edge indicate the waist line.

Hip Measure. A loose measure taken over the fullest part of the
hip about (>" below the waist line at the hip. If the skirl is to be
narrow at the bottom add 2' to the hip measure.

386

Length of Front. Measurement from the waist line at the center
front to the floor.

Length of Side. Measurement from the waist line over the hip
to the floor. Take the measurement of both hips; if one hip is larger
than the other, use the longer measure.

Length of Back. Measurement from waist line at the center
back to floor.

Construction of Skirt. A gathered, or pleated skirt made as wide
at the top as it is at the bottom should not be curved out at the waist
line in front, as the gathers will take up the extra size at the hips. In
making such a skirt, straight strips of cloth may be sewed together.
When a skirt fits smoothly around the hips, it must be wider at the
bottom and narrower at the waist than at the hip line. This is done
by slanting the strips of material from the bottom to the top sufficient-
ly to make it fit the figure. When a skirt is made to fit the figure, it
is always necessary to raise the waist line at the back to make the
top of the skirt fit smoothly around the waist line.

Two pieces of material may be slanted off on one edge, raised at
the waist line and fitted in with darts. As a rule the skirt is divided
into several sections, or gores; the number and size, however, is dic-
tated entirely by the prevailing fashion. A skirt pattern made of two
pieces, like the one shown in the illustration, may be divided into
any number of gores desired; the width at the bottom may be varied
to meet the requirements of changing styles.

DRAFTING THE FOUNDATION SKIRT PATTERN.

Study carefully accompanying drawing. Use a piece of drafting
paper several inches longer than the back measurement and a trifle
wider than one-half the skirt measure; if the paper is not wide
enough, an extra strip may be pasted, or pinned, on one edge. Let
the long edge of the paper represent line AB; draw line AC at right
angles to it 7" or 8" from the end of the paper; let point A represent
the center front of the waist line. As you are drafting one-half of
the pattern, you will use one-half the waist measure and one-half the
hip measure.

To Locate Points with Which to Draft Back of Skirt. Measure out
from point A on line AC one-half the hip measurement, locating point
L. Measure down from point A on line AB the length of front measure-
ment; locate point M. To locate point at bottom of skirt through
which the center back line must pass, put a pin or thumb tack through
the 1" mark on a tape measure and place it on point M; with a

387

pencil on the edge of the
tape opposite the figure
which indicates one-half
the width of the skirt de-
sired, describe an arc of a
circle (a small part of a
circle), slightly above point
M; in the same manner,
with point L as a center,
describe another arc with a
radius (measurement from
center to outside of circle)
the same length as line AM
letting it cross the first arc
at point W; draw a line
through points L and W
(this makes a temporary
back line).

To Draft Top of Skirt.
The waist line of a gored
skirt always curves up
from the center front to-'/

ward the center back. The slant varies with the width of the skirt
at the bottom; the wider the skirt is, the higher the waist line will
be raised at the back. By experimenting with many different skirt
measurements it has been found that the height of the curve in the
center back above the center front is about 1/10 the width of the
bottom of the skirt.

At right angles with line AC draw line ON which represents 1/10
the bottom of the skirt measure so it will intersect the indefinite line
LW at point N. Draw a slanting line AN (the curve for the waist line
will be drawn under this line after the point for the hip dart is
located.)

To Locate Hip Line. The hip line at hip is about 6" from waist
line. The hip line at center front will be shorter than at the side
because the waist line curves down in front. The hip line at center
front equals 6" minus the difference between the length of front and
side length. Tlie hip line at the back equals 6" plus the difference
between the side length and back length (if the back length is shorter
than the side length, the hip line will equal 6" minus the difference
between the side length and back length.)

To locate the position of the hip line, divide line AN in the center,
locating point P; with the end of ruler on line AN draw line PR H"

388

long and place point U for side length of skirt. To locate the hip
line at center front, measure down length of center front hip line and
locate point Q. From point N measure down on line NW the length
of back hip line and locate point S; with the tape measure, measure
the length of the hip line QRS. If this is longer than half the hip
measure, locate the point on line QRS and draw a new line \W
through this point without changing the width of the skirt at the
bottom; from point V measure down on line VW the length of the
back, locating point T. Curve the waist line, as shown in the illustra-
tion. (It is curved up at point P to shape the top of dart prop-
erly.)

To Draft Dart at Point P. Subtract one-half the waist measure
from the length of line AY. Measure out on line AV each side of
point P one-half the difference and draw the slanting lines to R shown
in illustration for the hip dart.

If a skirt is very narrow at the bottom it may be necessary to
take up some of the waist line at the back with gathers, or by slant-
ing in the back line from the hip to the waist line.

LAYING THE PATTERN ON THE MATERIAL.

This skirt pattern may be used for a two-piece skirt. Place
the center front of the pattern far enough from the edge of the ma-
terial to allow for a pleat or seam in front if you desire the skirt to
open in front. Cut 1" outside of line VT for the center back of the
skirt; or, place line AM on the center fold of the material and line
VT on a fold of the material and join the skirt at the hips instead of
the center front and back. (Have the placket opening at the top of
the left hip seam.)

This pattern may be used for a three-piece skirt by placing line
AM on fold of goods and having seams on the hips and center back.

One style of four-gored skirt may be made in the same manner
as suggested for the three-piece skirt, except that the skirt opens
under a pleat in the center front. If you desire to open the skirt on
the side of center front, cut a new pattern of the front gore on doubled
paper, calling the folded edge line AM. Measure the distance to the
right or left of this line that you desire to have your opening. Cut
the paper open at this point parallel with the folded edge.
REMEMBF:R seams must be allowed in cutting out the material.

DIVIDING THE FOUNDATION SKIRT IN GORES.

The number and size of gores in a skirt change so often with the
l)revailing styles that it is not deemed advisable to give in this text

389

a detailed discussion for
dividing the foundation
skirt into its many possi-
ble divisions or gores.
However, in order to give
a general idea of the man-
ner of dividing a founda-
tion skirt, the accompany-
ing drawing shows the
skirl divided into five
gores. This drawing will
be suggestive of the prin-
ciples which may be em-
ployed in making any de-
sired number or style of
gores. Before dividing the
skirt into gores, study a
commercial pattern and
notice the relative width
of the gores at the hips
and bottom and divide
your skirt accordingly.

The following figures were used in dividing this skirt:

Front gore at waist equals 1/6 waist measure.

Front gore at hip equals 1/6 waist measure plus 1".

Front gore at bottom equals 1% times size of hips.

Side gore at waist equals V^ waist measure.

Side gore at hip equals ^4 waist measure plus 2^2".

Side gore at bottom etjuals twice the size at hips.

Slant the side gore in from each side of the hip line 1^4" to the
waist line.

Back gore at waist line equals 1/12 waist measure.

Back gore at hip ecjuals remaining half hip measure.

Back gore at bottom equals remaining half skirt measure.

Take up remaining top of pattern in a dart in the center of the
side gore.

SUGGESTIONS FOR FITTING SKIRT.

Put on the skirt right side out and pin it together. If the seams
over the hips do not slant forward or backward at the waist line, if
it fits smoothly around the waist and hips, if you can sit down in it
comfortably and the lines of the seams are good, your skirt will
need no alterations. If the skirt is pleated, the pleats should hang as

390

indicated in the pattern. The skirt should be evened around the
bottom after the band is put on. It is an excellent plan to put on the
skirt (after the seams have been stitched and the placket opening
finished), pin the band in place and make it even around the bottom.
A good way to even the skirt around the bottom is to have the person
whose skirt is to be hung stand on a table, holding a yard stick
straight beside her, with one end resting on the table; the hem of the
skirt may be turned up evenly at any length desired, moving the yard
stick as you turn the hem.

If the skirt hangs forward at the bottom front, raise it at the back
w^aist line. If it draws across the hips, let out the seams at the hips,
and if necessary, at the center back. If the seam at the hip slopes for-
ward, or backward, near the waist line, pin it straight. Be careful
that the seams all have a general direction straight toward the floor.

KIMONO NIGHTGOWN.
MEASUREMENTS.

Neck Measure at Shoulder. Measurement from bone in center
back of neck out on the shoulder far enough to make the neck of
the gown as low as desired at this point.

Neck Measure at Center Front. Measurement from base of neck
down the center front the depth desired for neck of gown in front.

Bust. A loose measurement around the body over the fullest
part of the bust close under the arms.

Shoulder and Sleeve Measure. Measurement from base of
neck along shoulder to bend in elbow, or length desired for
sleeve.

Width of Sleeve. Measurement around the arm above the elbow
plus 6" or 8" (this depends on the size of sleeve desired).

Length of Nightgown. Measurement from highest point of
shoulder to the floor.

Width at the Bottom. Measurement desired (from 2 to 2^4 yards.)

DRAFTING THE PATTERN.

Study carefully accompanying drawing. You are to draft one-
half of the front pattern, which will also be used to cut out the
back of the nightgown, thus making this pattern one-fourth of
the entire gown. For this reason you will use one-fourth of the bust
measure and one-fourth of the skirt measure in drafting your pattern.

Draw line AB parallel with the edge of the paper; draw the line
AC at right angles to line AB.

391

To Draft the Neck. Meas-
ure out from point A on
line AC the neck measure
at the shoulder; locate
point L; measure down on
line AB from point A the
neck measure at center
front; locate point M; draw
an easy curve, as in illus-
tration, connecting points L
and M. This neck may be
made square by drawing a
line from point L parallel
with line AB to form a right
angle with the line drawn
from point M parallel with
line AC. A straight slant-
ing line drawn from point
L to point M will make a
V-shaped neck.

To Draft the Sleeve. On
line AC measure out from
point L the length of the
shoulder and sleeve meas-
ure, locating point N; meas-
ure down on line AB one-
half the width of sleeve measure and draw line OP parallel with and
1" shorter than line AC; connect points P and N with a slanting line.
To Draft the Body of the Nightgown. From point A measure
down on line AB the length of nightgown and locate point R. From
point R draw line RS at right angles to line AB, making it equal one-
fourth the width of the bottom measure. On line OP measure out
from point O one-fourth the bust measure plus 2" for fullness and locate
point Q; draw a slanting line from point Q to point S; from point Q
measure down the length of line OR on line OS; locate point T; half
way between the points R and S begin to draw the curved line RT
for the bottom of the nightgown. Make a curved line at point Q, as
shown in the illustration.

^PT^

\N C

- -^5

LAYING THE PATTERN ON THE MATERIAL.

Fold the material lengthwise in the center, then fold it crosswise
in the center; pin the center front of the pattern (represented by

392

the line MR) even with the lengthwise fold and the line LN even with
the crosswise fold of the material; cut out the back and front of the
nightgown at the same time.

ADAPTING THE KLMONO NIGHTGOWN PATTERN TO THE
MAKING OF OTHER GARMENTS.

By cutting the kimono nightgown pattern the desired shape at
the neck, opening it down the center front and cutting it oil" the shape
desired below the waist line, it may be used as a pattern for a comb-
ing jacket.

By opening the kimono nightgown pattern in the front it may bs
used as a pattern for a kimono. If a yoke is desired in the kimono,
cut off the upper part of the pattern the shape desired for the yoke and
allow for seams at the bottom edges when cutting out the material.
If fullness is desired in the body of the kimono, set the center front
of the pattern over from the edge of the material far enough to allow
for the fullness. In the center back, do the same, setting the
pattern over from the folded edge of the goods the width of a seam
if two widths are used to make the back.

DRAWERS.

MEASUREMENTS.

Waist Measure. Measurement around the smallest part of the
waist.

Hip Measure. Loose measurement around the fullest part of the
hips about (V from the waist line.

Length of Side. Measurement
from waist line over hip to the
bend in the knee (take rather
a short measurement).

DRAFTING THE PATTERN.

Study carefully the accom-
panying drawing. The i)attern
for these drawers is drafted on
double paper which is folded
along the side of the drawers.
When the drawers are cut out,
the pattern should be opened and
the crease laid parallel with the
warp threads of the material.
Consider the fold of the paper
line AB and draw a line AC at
right angles to it.

To locate the toj) of the side
of the drawers, measure down

393

from point A 3" on line AB and locate point L; to locate the top
of the front of the drawer leg, measure down 4" from point A
on line AB and locate point M; draw a line MN one-fourth of the
hij) measure; to locate the crotch of the drawer leg, measure down
from L two-thirds of the side length and locale point O and draw a
line OP parallel with AC, making it equal one-half the hip measure,
minus 2".

To lay out the length of the drawer leg, measure down on line
AB from point L the side length and draw a line QR the same length
as OP and parallel to it.

To shape the front of the drawer leg, measure in 2" from point
P on line OP and locate point S. One inch in from point S on line OP
locate point T; draw^ a line from point N with the yard stick on
points N and P within about 2" of point P; curve the line to point P;
draw a line from point L to point N.

TO SHAPE THE BACK.

Measure in 1" on line MN and locate point U; with the yard stick
on points S and U draw a line from point S up to line AC, locating
point V; leave the line dotted where it falls under the front of the
leg; curve the lower end of the line off to point P. With the paper
folded, cut out the pattern on the heavy outline around points LVNPK
and Q; fold back the upper part of the paper on the dotted line be-
tween points U and P and cut the back of the drawer leg even with
the crease; open the paper and cut out top of front leg on line LN,
also the part left uncut between points P and N.

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